The Untold Truth Behind The Handmaid’s Tale: A Revolution Revealed!

by

The television series adaptation of “The Handmaid’s Tale” has concluded, but in the words of Margaret Atwood, “All good things must come to an end, but the story isn’t truly over.” It’s also essential to note that the Hulu show was not the first chapter of “The Handmaid’s Tale.

In 1985, Margaret Atwood penned her critically acclaimed novel with the same title, a narrative set in a not-too-distant future, depicting a repressive government known as the Republic of Gilead seizing power over the U.S., leading to severe restrictions on women’s rights amidst a widespread fertility predicament. The plot unfolds through the eyes of a woman who is renamed Offred following her capture, taken away from her child, and compelled to serve as a “handmaid” in Gilead, acting as surrogates for the ruling class elite.

Over time, Offred’s compelling narrative of hardship and courage deeply resonated with readers. One of these captivated individuals was Bruce Miller, who eventually got the chance to transform the book into the critically acclaimed Emmy-winning series. This project, however, went through a lengthy development phase marked by setbacks such as TV rights changes, unconventional ideas like bare-breasted handmaids leading battles, and multiple showrunners and networks before finding its home at Hulu.

As the final episode of “Handmaid’s Tale” approaches, over 20 influential individuals involved in its triumph, including Margaret Atwood, Bruce Miller, producers, executives, and star Elisabeth Moss (June/Offred), discuss with The Hollywood Reporter how this Trump-era drama resonated culturally, elevated Hulu’s status, and spawned a new Gilead universe through the sequel series “The Testaments”.

“THIS IS HUNGER GAMES FOR ADULT WOMEN”

Five years following its release, Margaret Atwood’s book was transformed into the 1990 movie featuring Natasha Richardson, Faye Dunaway, and Robert Duvall. Unfortunately, this film did not garner positive reviews. It wasn’t until two decades later that the author teamed up with MGM and streaming service Hulu to produce a series adaptation instead.

Following the book’s release, there were numerous film proposals. Some intended to create “Leather Maidens,” veering towards the sadomasochistic, which we declined. Then, a New York producer named Daniel Wilson emerged. His wife urged him to produce this very film.

DANIEL WILSON (EXECUTIVE PRODUCER) Margaret seemed quite taken with my idea of Harold Pinter as our screenwriter. She inquired if I was acquainted with him. I admitted that I wasn’t, but expressed my intention to meet him and extend an offer, which I subsequently did.

ATWOOD (PARAPHRASED) The cast for the movie was excellent, but they hesitated about the costumes. The skirts were mid-calf length and they weren’t comfortable with the large white hat, so the handmaids ended up looking like red Mennonites wearing headscarves – a decision that might have been a misstep. However, at the time, it was hard for people to believe that something as extreme as what happened in The Handmaid’s Tale could ever happen in the United States, even though similar events had occurred before. I think they didn’t fully commit to the concept.

WILSON Yes, the film could have been better, but also it really was ahead of its time.

STEVE STARK (FORMER MGM/UA TV PRESIDENT, EXECUTIVE PRODUCER) I began working for MGM in November 2011. During that time, I met with Ilene Chaiken, who expressed interest in creating a series based on The Handmaid’s Tale. Initially, I was skeptical as I believed it might be too grim, and I hadn’t read the book at that point; I had only seen the movie (laughs). The film portrayed a more sensual and suspenseful narrative. It didn’t explore the psychological or political depths that Margaret Atwood’s novel did. Reading the book provided me with insight into why we should produce this series, as it offers an opportunity to depict the evolution of a revolution. Following that, I found myself in a tangle trying to determine who holds all the rights to this property.

The rights for both TV and movie adaptations were originally held together. After the film was produced, the distributor suffered financial troubles and sold off their assets. For years, we received offers, but I kept insisting, “Locate the TV contract, I’m unsure of who acquired it.” Then, along came streaming services, which significantly altered the landscape for novels as they allowed productions to maintain their intended length. Coincidentally, at this exact time, someone found the long-lost TV contract in one of MGM’s drawers.

LINDSAY SLOANE (HEAD OF MGM US SCRIPTED TELEVISION AT AMAZON MGM STUDIOS) Following the release of the film, Danny received unpleasant letters and even threats due to people feeling he had spoiled their beloved book. When Steve contacted him, Danny reacted with, “I have no intention of revisiting that project again.

ALTERED It turned out that numerous companies were purchased or acquired by MGM. I’d been informed that Danny held the rights. I made a cold call to him, which he wasn’t too keen on at first. We didn’t finalize any deals until late 2012, so it was an entire year of trying to make things work out. The selling and writing process began in 2013. We presented our idea to Showtime, WeTV, and AMC. Since Showtime already had a deal with Ilene, we sold it to them fairly swiftly. As drafts started coming in, I realized I needed to inform Margaret about what was happening.

HARRISON There was a time when it seemed like progress for women’s rights might be stagnating. I remember there was an initial attempt to have female characters fighting in battle without their shirts on, which I found amusing. “It’s just TV,” they argued. I insisted that such a move would undermine the audience’s trust and it would never be acceptable.

I clearly expressed my desire to stick with your preferences, as it’s crucial for us. We reached an agreement with her, yet 2014 turned out to be a catastrophe. The pieces began falling apart. Showtime started showing signs of disinterest, so we considered Netflix and Canal+. Unfortunately, Ilene accepted the position at Empire, which left us without our network and showrunner. We had a script in hand, but were unsure of how to proceed. It was a dreadful situation.

One backstory of the book was that when Ronald Reagan was elected in 1980, the evangelical religious right became more politically active and began advocating for women’s roles to be in the home. This raised a question in my mind: If this were truly the case, how would they manage to get all these women back indoors when many of them were already using credit cards and holding jobs? After the Berlin Wall fell in ’89, people in the 1990s generally felt optimistic, thinking we could just go shopping. However, the events of 9/11 disrupted this period, leading us into the era that we continue to navigate today.

In 2014, the highly esteemed Baileys Women’s Prize for Fiction recognized “The Handmaid’s Tale” as the second-best book of all time. This sparked an intriguing discussion. Since Ilene had agreed to work on “Empire” with Fox, I reached out to FX to explore a possible collaboration with Ilene for both shows. FX presented us with an offer. However, I also forwarded the script to Craig Erwich and Beatrice Springborn at Hulu. The same day I sent it, Beatrice shared an article stating: “The Handmaid’s Tale is the prestigious miniseries that should be produced immediately.” She asked me, “Did you arrange for this to be published?

CRAIG ERWICH (PRESIDENT OF DISNEY TV GROUP) In 2014, Mike Hopkins took over as Hulu CEO, and they recruited me to focus on original content production. I then brought in Beatrice and Jordan [Helman, drama head] to help with this endeavor. After the successful launch of the miniseries 11.22.63, we found ourselves wondering, “What’s our next major project?” Steve had sent us a script for a series adaptation of The Handmaid’s Tale. The author was unavailable at the time, so this presented an opportunity. We were determined – or in other words, generous – with the business terms because we truly wanted it. As a rapidly growing company trying to establish ourselves, we had something to prove.

SLOANE Hulu took a quicker route to series development. The alternative proposal from FX, however, followed a more conventional path with a pilot script and episode. Instead, they provided a couple of scripts followed by a direct-to-series order. Given the risk associated with an up-and-coming network, this approach seemed like a wise gamble.

STARK FX initially showed great interest, but we struggled to understand it. There was an infectious enthusiasm and passion about Hulu that caught our attention. Once discussions began, the deal was finalized in just 11 days – a speed unheard of. This left us scrambling to find a showrunner. I had collaborated with Bruce Miller on Medium in the past, and learned he was eager to adapt this book into a series. At the top of our list, my reaction was, “We can’t have Bruce. The story must be told by a woman.

BRUCE MILLER (CREATOR, WRITER, EXECUTIVE PRODUCER) I recall reading the book while still in college. It was my initial guide for writing, as I struggled with dyslexia and reading difficulties. However, Margaret’s unique writing style made it easier for me to comprehend. The character of Offred, whose thoughts often leave you pondering for years, captivated me with her voice. Later, when the opportunity arose for a showrunner position in television, I learned they were seeking applicants – and naturally, I assumed a female candidate would be ideal. After all, it was a role I had always aspired to, but I couldn’t help feeling that it wasn’t meant for someone like me.

In simpler terms, I’d describe the show as “a version of ‘The Hunger Games,’ but for adult women, or if Lifetime were to produce ‘Game of Thrones.'” The concept aimed to have a distinctive genre and was set just a few minutes in the future.

After examining woman after woman for a span of three months, I finally turned to Bruce and asked, “Alright, Bruce, it’s your turn. What’s your proposal?

Let’s create a TV series, and I prefer it to be as closely aligned with the book as feasible.” I admitted that this concept scared me senseless. It’s a suspenseful storyline. The protagonist is trapped in a house, similar to Rosemary’s Baby, yet also absurd. She’s contemplating, “Oh my goodness, don’t hurt me,” while simultaneously thinking, “Really, you’re going to harm me? What am I, a child?” There’s this intriguing internal dialogue, which I have always admired. Ultimately, they agreed to hire me.

In a more simplified manner:

STARK On September 1, 2015, we listened to Bruce’s proposal, and his deal was finalized within just a couple of days. However, the difficulty with the previous version was that Gilead, being such an unusual setting, was hard to grasp. Bruce had incorporated June/Offred as the protagonist, so readers could experience the story from her perspective, thus becoming familiar with this bizarre world and accepting its reality.

Instead of ATWOOD, Bruce had something that VOLKER SCHLÖNDORFF, the film director, did not have – and has since acknowledged he might have benefited from it – which was the use of voiceover. In a society where people didn’t feel comfortable talking to each other, like East Germany, voiceovers were essential to convey, “This is the face I’m showing. This is what I’m truly thinking.

A few months passed before he returned with not one but two scripts. Beatrice and I exchanged a glance and uttered in amazement, “This is incredible, truly incredible.” From that moment onward, things began to move swiftly.

MILLER (PARAPHRASED) During my conversation with Margaret, she had grown accustomed to her book being adapted into various forms – movies, ballets, operas, and plays. She found the entire transformation process intriguing and enjoyable. She understood that changes were inevitable, and we weren’t making drastic alterations. However, the book concluded so abruptly, leaving readers yearning for a sequel. The question was, why adapt it if you’re not going to explore what happens after [Offred] boards the van at the end of the book?

ATWOOD I’m not like some authors who declared, “The necktie is a mistake. I’m withdrawing my name from the project.” I understand the sacrifices that must be made, and I want someone who will make the most effective ones. Bruce and I could have open discussions. He was brimming with excitement and vitality. It wasn’t simply a job for him; it was the realization of his lifelong ambition.

“I’M GLAD THEY WAITED UNTIL ELISABETH MOSS WAS BORN”

Following her successful stint on Mad Men, Moss was high on the list for leading roles. At first, she turned it down. “We rarely discuss that!” she admits. However, when producer Warren Littlefield became involved, Moss agreed to join the project, paving the way for the rest of the cast to be finalized.

Back in 2016, our conversation turned to famous actresses and the name Lizzie, more famously known as Elisabeth Moss, emerged. A group representing Hulu’s production was involved at that time.

In order for us to succeed, we needed “June”. Lizzie was enjoying the limelight from one of the most popular TV shows. We presented her with our script, and I recall trying to convince her about Hulu. At that time, we were still a newcomer in the industry, while she had the freedom to choose where her career would take her.

Elizabeth Moss, both playing June/Offred and serving as director and executive producer, shared that she completed her work on ‘Mad Men’ in May 2015, and for a while, she didn’t envision taking up another series. Initially, she declined the offer. One of her requests was to have a “Warren Littlefield-like” figure, someone to oversee the production on location. At that time, Hulu wasn’t as well-known as it is now, and Netflix wasn’t the powerhouse it is today. They had ‘House of Cards’, but it hadn’t yet reached its current level of success. It was a riskier proposition.

WARREN LITTLEFIELD (EXECUTIVE PRODUCER) During my work on another MGM series, ‘Fargo’, I received a call from my agent about an opportunity involving Elizabeth Moss. They were keen to meet her expectations for the property, which were considerable. Bruce and I met at a breakfast in a waffle shop on Sunset Boulevard, reminiscent of ‘Fargo’. I was tasked with reaching out to Elizabeth, whom I admired but had never spoken to before. I expressed my enthusiasm for the deeply human story and proposed that, if she were interested, I could make it a priority in my schedule. She agreed, and we embarked on this project together.

MILLER Initially, she seemed quite anxious. However, as our conversation progressed, I found myself thoroughly pleased with her insights regarding the character. She nailed it perfectly. I proceeded to send her the second installment.

MILLER At first, she appeared rather apprehensive. Yet, as we delved into our discussion, I was overjoyed with her understanding of the character. She absolutely hit the mark. I then forwarded her the second segment.

MOSS I expressed, “I cannot proceed unless I see the second part.” I recall being on an elliptical machine at a hotel gym in Sydney [during the filming of Top of the Lake], and when I reached the end of the script for the second episode, which concludes with June saying [in voiceover], “Damn.” I remember muttering to myself [quietly], “Damn.” I was like, “I don’t think I can refuse this opportunity.

AS A GAMER: On a budget that might surprise you, under $5 million, we crafted our first season. Every penny was strategically spent to ensure maximum impact on-screen. With each agreement, the question became, “Is it truly necessary to have so many actors spread across ten episodes?

SHARON BIALY (CASTING DIRECTOR) We were thrilled when we learned that Lizzie Moss would join us! Then, we brought in Ann Dowd. Some executives had doubts about her initial role – “Why not start with a smaller part?” They asked. However, if we could secure Ann Dowd for the role, we decided to go for it. We wanted to ensure that Lizzie’s presence wouldn’t overshadow anyone else. Honestly, I never anticipated that I was casting a real-life documentary – and I hope it’s just a movie!

As a gamer, I had to pull double-duty in a hurry when Ann got called away for another project. Dashing down the corridor like a game character on a mission, I managed to snag Bruce for not one, but two roles – Ann’s replacement and Samira Wiley’s scene partner. Joe Fiennes was another swiftly secured addition to our cast, making us a team with a tight schedule but plenty of talent!

ANN DOWD (AUNT LYDIA) While cycling, I almost lost my balance as my agent and manager informed me about an offer for The Handmaid’s Tale. Interestingly, there was no audition required. I had already read the book and felt a strong affinity for Aunt Lydia. Having been educated by Catholic nuns who were both kind and firm, I could resonate with Aunt Lydia’s character. This is why people often comment on her cruelty; she does perform cruel actions, but from my perspective, I had developed a liking for her right from the start.

SAMIRA WILEY (MOIRA) When I was given the opportunity to take on the role, I found myself questioning, “Am I portraying another LGBTQ character again?” Moira’s character identity is queer. Previously, on Orange Is the New Black, I embodied [Poussey, who identified as LGBTQ]. I shared my reservations with my spouse [writer Lauren Morelli], and she encouraged me, saying, “If you accept another gay role, this should be the one to take.

YVONNE STRAHOVSKI Arrived for her audition. She was significantly younger than the Serena we initially envisioned, but she presented a compelling argument. We had to examine numerous other candidates, and she demonstrated remarkable patience, waiting for several months.

Yvonne Strahovski (as Serena Joy) recalled Bruce frequently requesting different takes for a particular scene, which was the pilot episode – “If I encounter trouble, I’ll retaliate in kind.” The choice to make Serena Joy the same age as June/Offred seemed insightful to me. This arrangement introduces fresh dimensions of envy, jealousy, and competition between them, creating an unsettling dynamic given their current circumstances.

MAX MINGHELLA (ACTOR, CO-SHOWRUNNER OF SEASON SIX) Max Minghella declined the opportunity to star in a different television show to join the cast of The Handmaid’s Tale.

As a fervent admirer, I must admit that Nick (Max Minghella), though not heavily featured in the initial episode, left an indelible impression on me. The writing and world-building were captivating, and I found myself drawn to his character. There’s a palpable chemistry between Nick and June that is truly remarkable. It’s astounding to think that Lizzie and I landed these roles without ever crossing paths; she has become a creative kindred spirit for me in this production.

Initially, many actors declined the role of Nick, but Max saw the opportunity to be a potential romantic lead that others dismissed as insignificant. Many critics commented, “The part isn’t substantial enough.” However, as you can now observe, it has turned out differently.

From the get-go, our options were quite impressive: Joseph Fiennes, Yvonne, Max. However, after watching the pilot, we couldn’t help but wonder, “Who is this captivating actress, Madeline Brewer?

Not long ago, I recall that Sherry and I both shed tears during her audition. She cradled a dummy baby as she serenaded it with song.

MADELINE BREWER (PREVIOUSLY KNOWN AS JANINE) I was well aware that I would be trying out for the role of a one-eyed handmaid who occasionally loses touch with reality. At the time of my audition, I had blonde hair like the character Lizzie, and since two blondes couldn’t be cast, they decided to dye my hair red instead – fitting for the crazier character. During my audition, I delivered the lines, “Welcome to the fucking loony bin,” from the pilot episode. Additionally, I performed the scene where Janine experiences a flashback to her past after losing an eye, and the scene where she sings Bob Marley’s “Three Little Birds” while giving birth. The day I received the call offering me the series regular role will forever remain etched in my memory – it was my first time being offered such a significant job.

In the beginning, I auditioned for the role of Rita, but I didn’t get it as that part was intended for Amanda Brugel. When I landed the role of Naomi instead, it was initially just a recurring guest appearance spanning five episodes. My first day on set was when Janine was giving birth to my future child, and I was pretending to give birth behind her. That day will always stand out in my memory because I walked into this massive mansion and the atmosphere was incredibly engaging. I didn’t recognize Maddie from Orange Is the New Black as she had a completely different look with only one eye.

O-T FAGBENLE (as Luke) I received the call, and it struck me as ironic because for the most significant production I’ve been involved with, I felt both elated and apprehensive. The thought that crossed my mind was, “This must mean I’m about to commit to a seven- or eight-year deal with Hulu.” Back then, people would often ask, “What on earth is Hulu?

PARAPHRASING Devoting myself to Margaret’s world during casting proved beneficial. Many actors auditioned repeatedly for various roles because everyone in Canada had read the book in school. The book already had a dedicated fanbase, which I considered carefully. Essentially, my goal was to avoid ruining it.

AMANDA BRUGEL (RITA) As a 14-year-old student, I discovered my admiration for Margaret’s portrayal of female leads in Canadian literature. In tenth grade, I received a scholarship to apply for universities. To secure admission into my writing course, I was required to submit a thesis. I decided to focus on “The Handmaid’s Tale,” but with a unique twist – exploring the character of Rita. She is one of the least prominent characters in the book and I found her intriguing because they can get away with a lot. Two decades later, I landed the role as Rita. The experience almost caused me to have a breakdown due to its intensity. Initially, it was just a single-day part, though there could be future opportunities, but I knew how extensively she was portrayed in the novel.

On my second day working with Lizzie, there was a point during the scene where I thought to myself, “Wow, this woman is like a blazing fire!” I then approached her and commented, “You’re really talented.” To which she replied modestly, “I know.” (She laughed) From our first day together, we developed a humorous rapport.

MOSS When I joined the team, they mentioned about giving me a producer credit. I responded by saying I’d only accept it if they genuinely let me produce. Everyone probably rolled their eyes, but Bruce and Warren seemed to understand my intent. Consequently, I did pick up the ropes of producing during that first season. Following the conclusion of season one, Warren phoned me and shared that both he and Bruce wanted me to serve as an executive producer in season two. They believed that was the role I had effectively fulfilled in season one.

In the initial role as director for “The Handmaid’s Tale,” Miller enlisted Reed Morano, an individual without prior drama directing experience but boasting a rich background in music videos. This explains why the series appears so visually captivating and meticulously arranged – it has elements reminiscent of Hitler’s carefully orchestrated rallies, which resembled ballets. Miller also brought on board an exceptionally talented costume designer, Ane Crabtree, who experimented with over 50 shades of red to achieve the perfect hue. During our extensive promotional activities, Bruce was quite humorous. He would jokingly introduce himself as “Bruce Miller, showrunner of The Handmaid’s Tale, and I’ve got one more penis than necessary. However, I’ve managed to employ a significant number of women.

It would’ve been great if it had been turned into a series earlier. I’m happy they delayed it until Elizabeth Moss came along.

In the past, we referred to our trio as me, Bruce, and Warren. All significant choices were made within this group. Deciding on the handmaids’ red color was quite significant. Reed and Colin Watkinson, our initial Director of Photography, handled the selection process for that red. However, my approval could only be granted after I had seen it in person. Consequently, a large swatch of fabric was sent via FedEx overnight. I recall unwrapping it and exclaiming, “Yes, that’s the one.” I still have that piece today, as well as the original costume.

ANNE CRABTREE (COSTUME DESIGNER FOR SEASONS ONE AND TWO) This project has left a lasting impact on me after 35 years. It still stirs emotions within me, as I haven’t worked on the show since 2018. The costumes in this series are deeply psychological. They represent a tribal way of self-expression, symbolized by the use of specific colors, many of which were suggested in the novel. My team and I pondered over the question: How did Gilead acquire these fabrics? In a world where resources are limited due to a small population producing fabric, each piece must be carefully chosen and durable. The design was also economical, considering how to adjust and modify the outfits for different weather conditions, or for occasions such as sex or childbirth.

MILLER The cloak serves as a complex emblem, symbolizing the enslaved reproductive woman in Gilead. However, beneath these oppressed individuals lies not just the capacity for procreation, but the power to dismantle Gilead. As we remark in season six: They underestimated their power if they didn’t intend them to be an army. In essence, it embodies its own unique shade of defiance.

CRABTREE Filming red can be challenging, often resulting in an unpleasant appearance if not done properly. Instead, we opted for a natural color for the cloaks, reminiscent of a red Japanese maple leaf. This choice eventually morphed into the color symbolizing blood, as all humans share this same shade. Over several months, this became the defining color for the handmaids.

Elizabeth Williams (Production Designer, Seasons Two Through Six) The color red holds significant meaning on the series, and Leslie [Kavanagh] and I believe that it is a deliberate decision to associate this shade with the handmaids. Whenever we revisit Gilead, we are reminded of the red. We tried to keep its use minimal in other settings.

LESLIE KAVANAGH (COSTUME DESIGNER FOR SEASONS FIVE AND SIX) During my takeover of the show, I had a small conversation with Ane. One thing that I am certain about is that the original design of the handmaids’ costumes was intentionally uncomfortable due to being created from a male perspective and not considering practicality, such as arm movement. In the final season, I made subtle nods to honor each previous costume designer.

)

LESLIE KAVANAGH (COSTUME DESIGNER FOR SEASONS FIVE AND SIX) When I joined the show, Ane and I exchanged a few words. Something I learned is that the handmaids’ outfits were intentionally designed to be uncomfortable in their original version because they were created from a male perspective, not taking into account practical aspects like mobility. For the final season, I incorporated small tributes to honor each designer who came before me.

CRABTREE At first, they weren’t keen on wearing the white bonnets (the wings). As Lizzie and several actors mentioned, it allowed them to perform in a unique manner. Now, seeing those cloaks being used as a symbol of resistance brings back fond memories for me when it was just a simple cloak.

“TRUMP … MAY BE GOOD FOR THE HANDMAID’S TALE”

The fourth episode of season one was being filmed at Cinespace Toronto when Donald Trump became president in 2016 during the show’s production. It was impossible to foresee how the series would strike a chord (perhaps only Margaret Atwood could have guessed). Even before its premiere, the red cloaks from the show started being used as a symbol of real-world resistance against patriarchal structures.

In the initial stages of scriptwriting, Trump hadn’t yet declared his candidacy. Later, when he did, a line appeared in one of our early scripts: “Make America great again.” Once Trump began using this phrase, we requested Bruce to remove it. We wanted to ensure that the phrase didn’t appear to have been plucked from any newspaper headlines.>

In a recollection of events, when Nick was being enlisted, they said, “It’s high time we take action, let’s strive to make our nation thrive once more.” I believe we opted for “Let’s make this country prosper again,” as it seemed more fitting with their choice of words.

LITTLEFIELD During the Obama era, we were working on a series. While filming episode four, we pulled an all-nighter, likely had more than our fair share of drinks, only to witness No. 45 enter our lives unexpectedly. This was a turning point. We aimed to create a compelling drama about women’s rights, but suddenly found ourselves dealing with something entirely different.

ERIC TUCHMAN (SCREENWRITER, SEASON SIX CO-SHOWRUNNER) During the filming of the scene where Waterford [Fiennes] delivers the line, “‘Better’ never means better for everyone. It always means worse for some,” we were engaged in a series that had strong feminist undertones. At the time, there was widespread anticipation about the election of our nation’s first female president.

On set, there was a quiet, solemn atmosphere. During breaks from filming, we formed a circle with our chairs and gathered close. It seemed everyone craved the comfort of being near one another, finding solace in companionship.

At my residence, I found myself reading the daily newspaper and the headline of The New York Times read “Trump” prominently. I penned a message to Lizzie expressing my concerns, asking, “What’s our next move?” To which she responded, “Make sure they don’t wear you down with their negativity.

As a gamer, I recall shooting off that message to Ann, unsure of the right words. Time and time again, when I’m at a loss for words, I lean on the eloquence of others who can express things far more beautifully than I ever could.

WILEY I had no inkling that history might take a turn other than electing the first female president. It left me speechless, and I believe the same was true for most of my co-stars. It’s hard to say whether we’re discussing 2016 or 2025. The rollercoaster ride of The Handmaid’s Tale and the presidency is mind-boggling.

STRAHOVSKI (PARAPHRASED) All of a sudden, we found ourselves under the public gaze and transformed into emblems ourselves, particularly the handmaids. Many of us have been thrust into the realm of politics, which I’m not certain any actor is prepared for.

VIEWER To this very day, the sight of a procession of red-robed figures walking in pairs remains striking. It’s unsettling and awkward, yet there’s a certain elegance to their movement, and witnessing such a large group… We didn’t realize then that this [final season] would be about them transforming into an army of handmaids.

ATWOOD The script remained unaltered following Trump’s election. However, the audience’s perspective on the show shifted dramatically. If Hillary Clinton had won, viewers might have relaxed, thinking, “We dodged a bullet, let’s enjoy the ride.” But that didn’t happen, and instead of seeing it as a quirky fantasy or Margaret as strange, people reacted with anticipation, whispering, “Here it comes.

In the second episode of the first season, a flashback scene is shown where they are attacked during a women’s protest march. This was around the time of Trump’s inauguration and nationwide women’s marches were taking place. People close to me encouraged me to attend, but I had just seen the rough cuts for this particular scene, which triggered my PTSD. I told them that once my show airs in April, you’ll understand why I couldn’t go, but I was there in spirit instead.

CARRADINE In episode nine, there’s a significant moment where Janine is on a bridge with her daughter, Angela. We filmed the scene from two different angles, one day for each direction. The first angle was on Obama’s last day in office, and then we switched to capture the other side on Trump’s first day in office. This shift symbolizes the entire experience very well.

PARAPHRASED STATEMENT During budget discussions, Hulu commented, “I’m not sure if Trump is beneficial for America, but it might be advantageous for The Handmaid’s Tale.” Essentially, they expressed a need for optimism. They said, “Look for a glimmer of hope. We require a glimmer of hope.” In essence, they were asking if the scripts had been reviewed. However, June maintained the hope, pushing it forward despite numerous reasons to quit, and her perseverance is what kept the show going, I believe, along with keeping our audience engaged.

MILLER Each time I expected Hulu to shy away from a contentious narrative, they didn’t. The story depicts a society constructed on rape. Since such acts are integral, we portray sexual assault. My aim is to reduce what is shown and amplify the emotional impact. It isn’t necessary to witness what happened to Emily [when Alexis Bledel’s character experienced Female Genital Mutilation (FGM)]; however, when we illustrate the consequences, they should be authentic, almost as if you had seen it yourself.

ALEXIS BLEDEL (PLAYING EMILY) It was truly heart-wrenching to contemplate Emily experiencing such a harrowing ordeal – being captured, stripped of her power, and having no control over her own body. Interestingly enough, I was given the opportunity to portray Emily/Ofglen, and upon reading the pilot script, I eagerly accepted the role. Somehow, Bruce seemed to sense that I embodied Ofglen within me.

MILLER (PARAPHRASED) Sometimes, one needs to witness it personally to truly comprehend it. In the case of Nick and June, being present during their intimacy is crucial as she has been longing for this connection, unwilling to be someone who abstains from a sexual relationship.

In our portrayal of Nick and June’s relationship, Lizzie and I infuse a large dose of playfulness. We’re mindful of the intricacies and relish delving into them. This stems from our appreciation for the romantic melodrama genre. To borrow David Fincher’s words, “People are perverse.” I believe the dark undertones of the series could be its most compelling factor, drawing viewers in.

STRAHOVSKI I didn’t make any snap judgments about Serena while I was figuring out how to play her on the court. However, once we got into complex scenes like the rape and ceremony scenes, I found myself critiquing her actions a lot. I had to maintain a dual perspective: empathizing with her motives, even when they were cruel, while simultaneously identifying with the audience’s negative opinions of her. This role presented a moral dilemma at first. It felt uncomfortable playing such a character because I genuinely sympathize with my own character off-screen. The question that arose was how could I convincingly portray her when I have compassion for another character in real life?

“HILLARY CLINTON JUST QUOTED US”

Season one debuted on April 26, 2017. At that time, Trump was in his early months as president, and the show became the streamer’s most-watched premiere to date. In September of the same year, the series swept the Emmys with eight drama series wins, among them best actress for Moss, best writing for Miller, best supporting actress for Dowd, and the first ever Emmy for a streaming drama series. This marked a groundbreaking year for Hulu, setting the stage for a new era. The production of season two commenced just two days after the Emmys ceremony.

In the year 2017 during Super Bowl LI, Hulu noticed an increased interest in their promotions and decided to invest a bit more money, having spent $5 million for just 30 seconds of airtime initially. Fox offered a 50% discount for a second spot during overtime, which historically had never occurred in a Super Bowl. Despite this, Hulu took the offer, resulting in overtime and the red revolutionary promo playing twice. The following morning, “The Handmaid’s Tale” book was the top-selling item on Amazon.

REPHRASED The launch event in LA was uniquely themed, featuring Handmaids and Guardians restrooms. My film representative, Ron Bernstein, remarked, “It’s unfortunate to say, but you seem to be the only one who has gained from Donald Trump’s election.

In case you’re wondering… There was a brief hiccup when there was some worry about the fact that “The Handmaid’s Tale” is nearly two decades old, and whether we should alter its title. I found this idea preposterous and unwise. In jest, I suggested renaming it to “Handmaid’s Tale: Counterstrike Force.” (Laughs) Fortunately, we navigated through that turbulence just fine.

In a similar vein: When the television series was aired and four months had passed since Trump assumed office, Hillary Clinton delivered a speech at Planned Parenthood and referenced the show. One of the series’ lines goes, “By the time we looked up from our phones, it was too late.” Clinton then commented, “So lift your heads up; there’s still time.” Such events aren’t something you can prepare for in advance.

I RECALL The night in May 2017 when Beatrice rang me at midnight to exclaim, “Wow, Handmaid’s Tale on SNL!” That was the moment I thought, “Alright, we’ve truly arrived.

THOMAS We performed together with Vanessa Bayer, known for her role as Janine on SNL. Vanessa told me, “She’s a woman who deserves every Emmy. I’ve managed it for just four minutes at a time on SNL, and I struggle to think clearly.

WILEY At first, with the crowd outside, it seemed like a unique, isolated event. Kind of like someone who just happens to be watching premium TV. (Laughs) However, as time passed, this show turned out to be the topic that people most frequently discussed with me.

A lady approached me at the airport, claiming, “I recognize you!” with an air of suspicion, as if I had done something wrong. I could see where this was heading. She quickly disappeared, and I couldn’t help but laugh aloud.>

In Summary, all signs pointed to success for Hulu’s Handmaid’s Tale. User sign-ups, along with positive feedback from reviews and social media chatter, demonstrated that the series had deeply resonated with the public. By any standard, it was a triumph.

ALTERNATIVE Currently, they’re keeping this information hidden from us. It feels like we’re always in the dark! Yet, Hulu’s excitement seemed to push them towards a bit more openness. (Chuckles)

LITTLEFIELD There wasn’t any commercial more perfect than the Emmys. At 2 a.m., there are pictures of me and Lizzie dancing, our arms up high, each of us clutching an Emmy. Soon after, I had a meeting at Hulu in Santa Monica, and their lobby was being renovated. Craig mentioned, “We needed to reconstruct the lobby because we didn’t have enough trophy cases to accommodate our success.

I attended the Emmys for the first time, and it turned out to be an experience that transcended my expectations. The sense of camaraderie among professionals in the industry was palpable. It was heartening to see so many departments and a multitude of women being acknowledged. In TV writing school, I was advised against numerous things – voiceovers, female leads, quirky costumes, odd names. Yet, here I am, having broken every single one of those rules, feeling empowered as if I could shatter any rule in the book. What a liberating realization!

BRUGEL The first time we won an Emmy, Oprah was the one who announced, “And the winner is… The Handmaid’s Tale!” I had the honor of escorting Margaret up the stage past a sea of celebrities, right up to Oprah onstage. That moment will be forever etched in my memory. Later on, Oprah even lent her voice to the show in season two, appearing in a voiceover role.

THOMAS (PARAPHRASING) It was Oprah who was our most celebrated guest performer ever, and that’s Lizzie who made a private telephone call.

SUSANNAH Honestly, I didn’t think I’d be the one taking home [the best supporting actress award]. When my name was announced, I can still recall feeling frozen in my seat. My husband then urged me to stand up, and after a brief pause, he told me I needed to walk towards the stage. (Laughs)

Moss had been nominated for seven best actress awards prior to her 2017 Emmy win. Winning wasn’t something she had anticipated, but it did bring some advantages. It gave her more time at the table in discussions about future seasons, making it seem like there was a stronger possibility for season two and potentially even season three.

FAGBENLE I recall expressing my thoughts as, “This series is fantastic, yet I sense that the craving for such a dark theme might be quite specific. Therefore, while it could resonate among those who can handle such grimness, does it earn universal praise?” However, following the election, opinions shifted dramatically, and people began to express, “Surprisingly, this darkness is striking a chord within me.

In the aftermath of our first season, our budget saw a considerable boost. Contrary to my suspicions about an open checkbook like on ‘Game of Thrones’, that wasn’t the case. Instead, the cast was duly compensated, and everyone received their due reward. The anticipation leading up to season two was immense, and it weighed heavily not only on us but especially on Bruce, Eric Tuchman, and Yahlin Chang. Yahlin joined our writing team for season two.

For approximately 17 years, I specialized in network broadcasting. I collaborated with Bruce during our time on ER, but that was back in 2004. Before its release, there was a lot of buzz surrounding the story of The Handmaid’s Tale. Excited by this development, I reached out to Bruce via Facebook and congratulated him. He responded with a question about who my agent was. It’s said that Bruce received around 1,200 submissions for one writer position. Eventually, I found a show where I could put forth my top writing efforts, and they appreciated me doing so.

One of the significant factors contributing to the show’s success was BRUCE‘s careful selection of authors and the talented performers he chose to bring their works to life on screen.

BRADLEY WHITFORD (AS COMMANDER LAWRENCE) My wife was deeply engrossed in the show when the role for season two came to me. I too started watching it, and every time I meet Elisabeth Moss, it’s a delight. The first time I remember her was as a very composed 17-year-old on the set of The West Wing, and I thought to myself, “This girl is a perfect fit.” Then she becomes the driving force behind the golden age of television. (Laughs) They approached me to play a character who was an economist, one of the masterminds behind Gilead. My concept was that he resembled Robert McNamara, who was the defense secretary during the Vietnam War, a man whose intelligence overshadowed his humanity. Originally, it was only for three episodes, then just two. I had hoped it would serve as an audition for the series. I was overjoyed that they wished to carry on with the character.

THOMAS The part expanded far beyond its original scope. Given Bradley’s political involvement, it seems performing something that resonated with his political beliefs, moral standards, and civic responsibility in a significant manner really heightened the artistic aspect. They continued to reach out to him with more opportunities.

SAM JAEGER (AS MARK TUELLO) I had wrapped up a performance and declared, “I’m not taking on a guest role.” My manager countered with, “Have you even watched this show?” Later, after the second season, they asked me to return. Bruce didn’t favor explanatory scenes in the series. He disliked inserting news broadcasts, so Mark was chosen to convey the larger world events instead.

Year after year, the dialogue remained consistent: The scripts were penned and filming began, only for real-life events in the environment to mirror the show’s narrative. This phenomenon underscored the profound impact of Margaret Atwood’s novel, as though our written scenarios mirrored reality or vice versa.

As a devoted viewer, I can’t help but draw a chilling parallel between the emotional scene in which Nick orchestrates a reunion between June and their daughter Hannah, only for her to be forcefully taken away, and the real-world events unfolding during the first Trump administration. The administration was infamously known for separating children from their parents at the U.S.-Mexico border. Coincidentally, this episode aired on the same day Melania Trump visited the border wearing an insensitive jacket that read, “I don’t really care, do you?” The eerie prophecy of the scene was undeniably chilling.

CHANG Writing the show was therapeutic for me, as it allowed me to express any fears or concerns I had about global events. Since we were creating a story set in an authoritarian regime, much of what we wrote seemed increasingly relevant as time passed. It’s astounding to think that, as a woman, I have less rights today than when we first started the show in 2017. Frankly, I never anticipated the overturning of Roe v. Wade.

WHITFORD I sometimes say that my career seems to mirror the decline of democracy. Back in 1985, there was a backlash against feminism. When we started filming this series, it seemed unthinkable that women’s rights, particularly access to healthcare, would be restricted. Critics even said that a show like The Handmaid’s Tale could never become reality. However, nowadays, we find ourselves living in extraordinary times that are disturbingly similar, and I hope everyone recognizes these similarities.

At Hulu, our collaborators consistently support us in our daring endeavors. Frequently, we’d find ourselves exceeding our budget by $4 million and ask, “How can we possibly fit this into a budget-friendly package?” Nevertheless, we persevered, broadening the narrative scope, transforming our platform into an appealing haven for budding talents to flourish. For instance, Sydney Sweeney showcased her talent in season two. As the series gained global acclaim, Margaret’s publishers were tireless in their pursuit.

ATWOOD I had long resisted the idea of writing a sequel. Many asked me about it persistently. I replied, “No, we don’t know [Offred’s fate]. That’s how things often end in history – people just disappear.” However, as society seemed to be regressing (with the increase in right-wing ideologies), I felt compelled to explore what could have transpired next. To imagine the potential beginning of Gilead’s demise. I believe that such oppressive regimes tend to crumble, not only due to external pressure or invasion, but often because they decay from within as a result of power struggles.

SHE RAPIDLY APPROACHED ME WHEN SHE FELT A PREMONITION, AND SHE PROVIDED A MINIMAL LIST OF EXEMPTIONS THAT DIDN’T INCLUDE DESTRUCTION.

In Margaret Atwood’s own words, when she released “The Testaments”, Bruce exclaimed his gratitude: “Thank you, thank you, thank you.” He was thrilled to have a sequel that delved into the lives of characters who were kids or infants during the original story. Moreover, it provided an excellent platform for Aunt Lydia’s character development. At one point, Margaret admitted to Bruce, “You can’t kill Aunt Lydia.” Bruce responded, “I wasn’t planning on it!” She then reminded him, “But you stabbed her and threw her over the balcony.” Bruce reassured her, “She’s in the hospital recovering.

After the completion of the second season, Margaret began crafting “The Testaments”. She was insistent on collaborating with us, and there were certain elements required to bring the book to life effectively. Consequently, we needed to rearrange some plot points for a cohesive narrative flow.

IN MY OWN WORDS From the moment I witnessed Lydia in Ann’s scenes during season one, I felt compelled to delve deeper into her character. It’s quite unusual when your leading lady casually asks, “Hit me harder.” I responded, “I might injure you!” To which she replied, “Come on, give me a solid slap.” (Laughs)

I can’t help but ponder if Bruce harbored a desire to displace Lydia, as I am utterly captivated by Margaret Atwood. I’m thrilled that her work is continuing, and I must confess my deep affection for Lydia. The process of diving into “The Testaments” has been enlightening, as Margaret’s writing style remains consistently compelling. It’s a seamless transition from the conclusion of “The Handmaid’s Tale” to the commencement of “The Testaments.

MILLER By then, I didn’t intend to eliminate the characters essential for Margaret. Lydia, you could say, has nine lives like a cat. This trait helped those people survive under such regimes – they were excellent at dodging danger when things went awry. There was a particular conclusion for the series that I believed wrapped up all the loose ends nicely. The ending I initially proposed in the beginning is exactly what we eventually executed.

ATWOOD Essentially, the only change from reality is that if June had been caught, she would’ve been killed, but we can’t do that since our main character can’t be eliminated. She remains because there are individuals on the inside aiding her, as there always have been. Our show’s guideline was: “Whatever you add must not be purely fictional. You must tell me when this actually occurred in history.” There’s very little you can fabricate in this field that hasn’t happened somewhere.

LITTLEFIELD Fred Waterford, the villain, might have only lasted for one or two seasons. However, Joe’s depth, complexity, and impact were so profound that we couldn’t bring ourselves to let him go. Thus, with a sense of fulfillment for both the characters and the viewers, his character met a gruesome end, mirroring the tragic demise of many victims in Gilead [at the end of season four]. This was a very satisfying conclusion to the season, paving the way for Serena Joy’s fresh journey. The heart of the series has always revolved around the complex dynamics between June and Serena Joy, a love-hate relationship that continues to evolve.

Speaking of Joe, I discussed with him the idea of his character’s demise towards the end of season two. Despite being a delightful individual in real life, Joe plays a detestable character, which can be tiresome for an actor. So, I was essentially encouraging him to persevere. As June and Serena shared such a captivating dynamic, Fred evolved beyond merely being a repulsive, boorish antagonist within the narrative. However, when we did eliminate his character, he promptly shaved off his beard in the makeup trailer and has kept it off since then.

STRAHOVSKI The death of [His name] significantly impacted me as it led Serena to undergo a 180-degree transformation and her circumstances dramatically changed. I spent one season in a detention center, followed by another traveling to various locations with diverse groups of people. It’s been quite an intriguing journey so far.

Leaving my fellow cast members, who had been with us from the start, was extremely hard. It was a surprise and upsetting when Alexis Bledel departed after season four. Unlike some of the other actors, I didn’t get to find out what was going to happen next from the writers; instead, I learned about Rita’s storylines just like everyone else. Margaret really fought for me, which is the greatest honor I’ve ever experienced, so I believe that played a role in keeping me safe from being written off the show.

It was disappointing not to have Nina (Kiri who played Alma) and Bahia (Watson who played Brianna) present during the final seasons, as their characters were tragically killed by a train in season four. While I understood that from a storytelling perspective it might be necessary to kill off Janine, I also felt a sense of pride and appreciation if they had chosen to let her survive until the end of the series.

Actress playing Poussey, who felt deeply for her character’s fate: It would have been incredibly unfair if my character was killed off in Orange Is the New Black! I consider it an immense honor to have contributed to telling a story that spanned from its beginning to its end.

I must admit, it’s quite a conundrum that our deep affection for the characters might have spared them from the grim fate that Gilead often metes out. (Laughs) After all, maintaining the ominous and terrifying atmosphere of Gilead requires violence, but we grew so fond of these individuals.

“THIS IS NOT A SHOW THAT NEEDS A MALE SAVIOR”

In the second to last episode aired on May 20 (warning: spoilers!), Nick and Lawrence, portrayed by Minghella and Whitford who were High Commanders, along with season six lead actor Josh Charles’ character Wharton, suffered a heartbreaking demise. The series finale set for May 27 aims to provide a satisfying conclusion for The Handmaid’s Tale while also paving the way for The Testaments, the upcoming Hulu/MGM adaptation of Atwood’s follow-up novel, currently in production.

SLOANE Hulu had consistently told Bruce, “We’ll produce as many seasons as you believe are necessary to fully convey the story.” At one point, Bruce suggested, “I believe we need 20 more episodes.” We agreed to create two seasons with ten episodes each. It’s uncommon these days for a six-season series to conclude on its own accord. People often wonder, “Is it a mix of sweet and bitter feelings?” But it’s purely sweet.

TUCHMAN We considered dividing the sixth season into two parts, each consisting of six episodes. We debated whether episode eight would mark the end of this season and start another one, or if we’d insert a pilot for The Testaments into a potential second half of season 6 of The Handmaid’s Tale. However, by that time, we had already planned out this season.

2019 saw a strategic gathering among Bruce, Steve, Lindsay, and Hulu where the question was posed, “Shall we ponder over our next ten years, given Margaret’s recent publication of The Testaments? This is crucial for our future trajectory.” Previously, we had discussed potentially completing five to six seasons, after which we aimed to make a transition. Ideally, this transition should seamlessly blend with The Handmaid’s Tale. Here’s some reassuring news: Should the Gilead narrative lose its relevance, we would cease production and you’d never have to work on this series again.

FAN I was among the rare who found myself asking, “Who’s up for season seven?” (Laughs) It wasn’t just the content that made me curious. It was the magic of the team, the camaraderie – it’s challenging to leave that behind. What makes the scenery appealing now is that we could potentially create something new if we wished. There’s no rule against it. However, I do believe our ending was fitting.

From hereon, I’ll gauge all future experiences against this one. I made this statement earlier: As long as Elizabeth Moss continues to express these roles, I will continue to pen eloquent dialogue for her until she asks me to cease. She is the central figure in ‘The Handmaid’s Tale’. In certain episodes, she appears in virtually every shot, not merely every scene. There are very few individuals one can compare, given the significant weight the series carries on their shoulders.

Now, I find myself pondering what might have been if we had truly explored the possibility of a seventh season. Given the chance, Eric and I could brainstorm some concepts with Lizzie in a collaborative setting.

Yahlin Littlefield and Eric played a crucial role in the success of “The Handmaid’s Tale.” They stepped up as showrunners during season six, allowing Bruce to concentrate on the creation of “The Testaments.” Just six weeks after we wrapped up shooting “The Handmaid’s Tale,” we were already filming “The Testaments.

MOSS Working on The Testaments as an executive producer felt incredibly natural. I can’t recall ever being specifically asked to do it. (Chuckles)

or

It was a seamless fit for me to take on the role of executive producer for The Testaments. I don’t remember anyone asking me to do it, but it just felt right. (Laughs)

or

Executive producing The Testaments seemed perfectly natural to me. To be honest, I can’t even recall if I was asked to take on that role. (Giggles)

Initially, I believed concluding the series was fitting. I wanted to bid farewell to Serena and move on from everything she embodies. My enthusiasm led me to schedule a hair color change to pink and a nose ring re-piercing. However, as we had two more months left, I found myself heartbroken. The prospect of saying goodbye to Serena became unbearable, and I suddenly realized how much I’ve come to cherish her. She’s been a part of my life for nearly a decade. It was bizarre to accept that I wouldn’t walk in her shoes anymore, not like this, not with these people.

WILEY This program will remain etched in my memory forever. However, the aspect of our production reflecting reality has left me content to move on. It’s become quite overwhelming. I don’t feel it necessary for the series I am involved with to echo what is unfolding across the nation and globally. Regrettably, I can’t entertain a “maybe” and hint at [“The Testaments”], as I must confirm that it won’t be happening in this case.

Back in 2020, during Margaret’s book tour, I got a chance to chat with her at an event. I confessed that I felt a bit awkward since I embody a character she didn’t create. She responded with a surprising remark: “I can hardly believe you’re still kicking!” (Laughs) I jokingly replied, “Don’t let the writers hear you say that.

TUCHMAN When you decide to eliminate characters, you want their departures to be impactful and unforgettable. In this instance, Max, Bradley, and Josh Charles all meet dramatic ends in the penultimate episode that leave a lasting impression. The scene where Bradley touches his heart before boarding the plane and gives June a salute is originally written as a small gesture, but it’s far from understated in its emotional impact. I am always moved by this moment. Bradley’s emotional expression and the way he sits on that plane, fully aware of what awaits him, is incredibly powerful.

WHITFORD The gesture was already in my mind. However, our last shoot took place on the airplane. I felt uneasy, mainly because I was anxious about it. Lizzie was directing, and Max is someone very dear to me. Moreover, the Toronto crew is one of the kindest crews out there – regardless of what President Trump might think about Canadians. Frankly, I didn’t want to bid farewell. I truly hoped Lawrence would wind up on the right side of history. But it can’t be too simple. This isn’t a series that requires a male hero (laughs). In our final conversation with Nick on the plane, I believe Lawrence is contemplating, “This young man is another casualty in the chaos I’ve created.

Upon learning about Nick’s demise, I found myself thinking, “Boy, he’s really going to stir up a storm of emotions!” However, the purpose of this show isn’t to guarantee a happy ending. Instead, it aims to portray the raw and complex aspects of life, love, and betrayal. The question then becomes: how does one carry on in the face of such heartache?

As a gamer, I can’t help but feel that Nick’s demise was sadly foreseeable in the harsh, merciless world of Gilead. With June and Nick on opposite ends, it seemed destined that their paths would cross at a pivotal moment where one could meet an untimely end or make the ultimate sacrifice. Despite the brutality, their love story was remarkable and surprising, offering a glimmer of hope amidst the loss. It’s heartbreaking to think that he came so close to surviving.

MINGHELLA The aim was to create something surprising and fulfilling, and this conclusion worked wonderfully for Nick. It seemed particularly appropriate that Brad appeared in the final scene with him. Since we’ve grown quite close off-set, it made our last scene together all the more perfect.

JOSH CHARLES (WHARTON) Lizzie presented me with this role following our collaboration on ‘The Vale‘. Initially, it’s not a project I’d typically consider. Joining a series in its final season can be quite awkward and potentially filled with obstacles. However, due to Lizzie, the show’s caliber, and the talented cast, I agreed. She was spot on. I was warmly received.

As a devoted fan, The producers withheld the complete finale scripts from us actors, leaving only our individual scenes to be read. However, through my well-placed connections, I managed to uncover what unfolds in the closing moments and I must say, “Wow, they pulled it off! They found a way to bring this story to a satisfying conclusion.

I felt fortunate to witness the climactic moment. It was incredibly emotional. I pray that the main message is that even in the darkest of times, there’s always a beacon of light, and one must continue to struggle, never surrender, and never let go of hope.

One of the most remarkable aspects of this series is it focuses on narrating stories about refugees and displaced individuals, a topic not typically welcomed in mainstream Hollywood production. The fact that we’re managing to lend voice and representation to characters facing struggles similar to those experienced by people worldwide, fostering empathy and understanding within our audience, is something I find incredibly inspiring and hopeful for humanity.

In “The Testaments,” set four years after “The Handmaid’s Tale” ends, the narrative shifts from June’s perspective to that of young women growing up within Gilead, who have never known a world without it. As Margaret Atwood mentions in her book, this school where these girls are educated is called Lydia’s school, and we are delighted to continue our journey with Ann Dowd, whose character serves as an essential guide from one reality into the next.

As a devoted fan, I can’t foresee exactly how long a series might run, as it hinges significantly on the response to its initial episodes. However, with Anne Dowd gracing our screens, she’s an actress so captivating that it’s hard to look away!

As a devoted fan, In “The Testaments,” I don the same captivating outfit designed by Ane Crabtree and I’ve worn these shoes for nine years now. But there’s no denying, she’s transformed. She’s now working alongside the Pearl Girls, individuals who willingly embrace Gilead. The experiences she’s had have significantly altered Lydia’s perspective on the world. The events that unfold in the final season have made her aware of aspects she would never have confronted if not for the relentless push from June Osborne.

Elisabeth Moss’s long-standing portrayal of June significantly permeates the production aspect of “The Testaments” since she serves as its producer.

MILLER Similar to Handmaid’s Tale, The Testaments is designed for readers who may not be familiar with the story. The book’s events don’t follow a straightforward timeline since Testaments spans a significant amount of time. I refer to it as “Growing Up in Gilead” instead. It follows the lives of these young girls, from their childhood to matrimony, introducing adolescent brides. The storyline explores the tension between these girls living carefree lives, considering the massive threat of marriage hanging over their heads in Gilead.

I’ve come to understand that I need not worry about how a production is received, as we would still be discussing it even if Trump hadn’t been elected. The show was well-received when Trump was in office, during his absence, and now that he’s back. Regardless of the administration, The Testaments will serve as a reflection of society and provide an avenue for dialogue about it.

***

Read THR’s mini oral history on the penultimate episode and more final season coverage.

This tale was previously published in The Hollywood Reporter’s magazine on May 21. To stay updated, consider subscribing here.

Read More

2025-05-22 16:59