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This narrative reveals significant plot twists from the final episode of The Handmaid’s Tale series, named “The Handmaid’s Tale.

The creator of “The Handmaid’s Tale”, Bruce Miller, had a clear vision about how the series would conclude. However, a crucial location detail evolved differently than initially planned and he was unsure about the number of seasons needed to reach that point or that Margaret Atwood would publish a follow-up novel in 2019. Yet, what he was certain of was that when the show reached its end, June’s storyline would return to its origin but with a fresh outlook.

In the series finale, as Miller describes to The Hollywood Reporter, this isn’t a tale where you or June often achieve your deepest desires – rather, it’s a narrative that explores the art of coping with things you can’t obtain.

2017’s premiere of the Emmy-winning Hulu series introduced viewers to Elisabeth Moss as June, a character readers initially encountered as Offred in Margaret Atwood’s 1985 best-selling novel with the same title. The pilot showed June being parted from her husband Luke (O-T Fagbenle) and daughter Hannah (Jordana Blake), before showing her again as a handmaid, dressed in a red cloak and white bonnet, seated at a windowsill in the residence of Gilead Commander Fred (Joseph Fiennes) and his wife, Serena Waterford (Yvonne Strahovski).

Attentive listeners might have detected a sound similar to a click before the month of June, followed by a voiceover saying: “Here’s a chair, a table, a lamp. There’s a window with white drapes, and it’s shatterproof, but what they’re truly fearful of isn’t its breaking. An Handmaid wouldn’t go far… My name is Offred. I used to have another name, but now it’s forbidden to use it. So many things are forbidden now.

As a gamer, I’ve just wrapped up the final episode of this gripping series that dropped on Tuesday. Now it’s clear that the clicking sound was an old tape recorder, and the voiceover was from a modern-day June. In the series finale, titled “The Handmaid’s Tale,” penned by Miller and directed by Moss, I find myself perched once more on the Waterford windowsill – but this time it’s different. Gilead’s oppressive rule is over, and Boston has been liberated! As I sit there, I can feel the weight of the story we’ve been following for six seasons lifting off my shoulders as I prepare to document this tale that’s now part of my past.

Consequently, it signifies that this story has come to a close, and unfortunately, June (and fans) didn’t get the long-awaited reunion they had anticipated from the outset: The dystopian series does not conclude with June reuniting with her eldest daughter, Hannah. Instead, it concludes with June persisting in her struggle for herself.

The dystopian series does not wrap up with June reuniting with her oldest daughter, Hannah. Instead, it concludes with June carrying on her fight for herself.

When Margaret Atwood’s follow-up novel, “The Testaments,” is released, several aspects become clear – June won’t meet her end, and Hannah remains in Gilead. Miller elaborates on how the finale of the TV series sets the Gilead universe on a new path, as he was also the creator of “The Testaments.” He started working on the adaptation even before the final season, with Eric Tuchman and Yahlin Chang overseeing season six. Miller explains that the ending of the novel leaves you intrigued because it implies, “This woman is still alive, she made it this far,” which adds to the satisfaction of knowing her journey continues. If June didn’t survive any further, it would be acceptable, but her struggle to make it this far is indeed the compelling narrative – a story that mirrors women’s resilience throughout history.

In a heartwarming twist, the climactic episode brings about an emotional reunion between Janine (Madeline Brewer) and Charlotte, made possible by Aunt Lydia’s (Ann Dowd) transformation and with Naomi’s (Ever Carradine) approval. Meanwhile, Serena is left in a precarious situation, finding herself homeless and refugee-like, along with her son Noah. The penultimate episode’s tragic events, including the High Commanders’ deaths (Nick: Max Minghella, Lawrence: Bradley Whitford, Wharton: Josh Charles), set the stage for Gilead’s downfall across the former United States. June, along with her determination to rescue Hannah, will join the resistance, operating covertly until she can secure their freedom. Luke shares in this commitment to the cause.

Discussing further on The Hollywood Reporter’s account of the series’ phenomenal success and its role in introducing The Testaments, THR recently interviewed Miller and Moss in separate dialogues, which are presented below following edits. These conversations revolved around how they crafted a conclusion that was both fulfilling and authentic to the cherished, relevant tale, while also paving the way for the upcoming series, currently being produced. In this future scenario, Aunt Lydia is the main character, with Chase Infiniti portraying Agnes – a name used in Gilead for Hannah, June’s daughter.

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Bruce, in our last conversation, you shared that the story is about coping with what people lack and their struggle to survive. Before Margaret Atwood proposed writing The Testaments as a sequel, had you already been considering a reunion of June (Moss) with her daughter Hannah? Or did you feel that such an ending would be overly tidy for this world?

BRUCE MILLER It seemed excessive to wrap things up neatly, especially considering where June’s story began in June. This series has been about June, her daughter, and her husband, focusing on how she lost everything and slowly rebuilt her life. It’s not just Hannah’s Tale, it’s The Handmaid’s Tale. The narrative follows June’s transformation from a handmaid to gaining freedom. Rebuilding her family, which appears to be a complex process beyond simply moving to Alaska, feels like another layer in her journey.

During the season, we initially believed we could leave things behind, thinking “I’ve completed my part.” But if June had stayed with her mother and daughter Holly, it would have been a tidy conclusion. However, that wasn’t how it unfolded. June couldn’t detach herself from her daughter Hannah. As the book suggests, such stories of reunited parents are rare gems, often told as exceptions. I want to share the story of the 999,000 individuals who don’t get their children back. They must navigate life and endure hardships, and it’s not an easy journey. June embodies a person who never chooses the simple path, but this is one of the most challenging situations she faces, revealing its impact on her.

When Margaret mentioned, “I’m penning The Testaments which could affect your actions in The Handmaid’s Tale,” she revealed to me that the list of those spared from execution was quite limited – specifically, Aunt Lydia, June’s two daughters, Hannah and Nichole/Holly.

MILLER Yes, indeed, quite a tiny one. Lydia is remarkably resilient, much like a cat with nine lives. This trait allowed many individuals to endure under oppressive regimes by skillfully dodging trouble when it came their way. Actress Ann Dowd has brilliantly explored various aspects of this character and revealed unseen facets of Lydia’s past and personality throughout the series. By the end of The Handmaid’s Tale, Aunt Lydia is slowly beginning to question the truth of Gilead, realizing that perhaps not only her ‘special girls’ deserve freedom. Over time, Ann has developed this character in a realistic and believable manner. Margaret and Lydia share a strong friendship, making it a delight to continue exploring this character in The Testaments. If you observe the events of this last season, you’ll see that Lydia hangs by a thread only to regain her power again – a perfect depiction of her character.

Margaret approached me promptly when she started to ponder over writing “The Testaments”, which was quite early for me to gather details. She hinted that the foundations beneath my work might be subtly changing. The television series, “The Handmaid’s Tale”, surpassed the book of the same name. As a result, I found myself struggling to find an ending that harmonized well and, indeed, I was experimenting with various elements that Margaret mentioned would feature in “The Testaments”. However, it should be noted that this is “The Handmaid’s Tale”, not “June’s Tale”. This story revolves around her time as a handmaid. The finale of the series reveals that she is no longer a handmaid, but rather she has transformed into Onjune.

Elizabeth Moss didn’t write the ending for “The Testaments,” but she acknowledges that it was the most difficult part due to Hannah not escaping. For “Handmaid’s Tale,” we had considered having June escape, but since a sequel had been written, we focused on that instead. While I don’t think this was a bad choice, I would agree that it was the most challenging aspect to address.

Did you know, Lizzie, that following season three, the fact that ‘The Testaments’ (released in 2019) meant that the series would have a different conclusion than initially expected?

Before I delved into it, I had a conversation with Bruce regarding the topic. After reading it, it was evidently clear that the conclusion wouldn’t be as we initially anticipated.

Bruce, when you shared that you already knew how the story of the series would conclude, I was wondering if you had envisioned June speaking those words as the opening line of her narrative from the very beginning. Was this part of your original plan when pitching for the adaptation?

MILLER Indeed, the narrative was integrated into my presentation since it essentially forms the backbone of the book. It sets the tone for perceiving her character right from the start. You might wonder about the voiceover and its origin. From the outset, I envisioned that what we’re viewing is merely a dramatized version of these tapes found by someone. However, it’s this collection of her story, her account as a handmaid. Therefore, I expressed my intention to create an ending that leaves you with a sense of comprehension about what you’ve just witnessed and its overall significance. I hope that the conclusion will provide a sense of fulfillment for this tale’s resolution.

MOSS The connection I felt with June at the start was mirrored in our final encounter. She possesses an indomitable will to live, not just for herself but to secure a brighter future, particularly for her children and generations to come. This is her life’s purpose. I noted this trait as early as episode one, when I shared this observation with my mother. The same sentiment was evident in the final scene.

It often happens, without deliberate planning, that I find myself creating work which resonates with the cultural moment or gains immediate relevance. I’ve simply been drawn to subject matter that feels deeply personal to me. In this case, the story was deeply personal, and my role is to convey the human perspective. When it subsequently touches upon broader issues or scales, I am both humbled and inspired by its impact.

Hi Lizzie, let me share a thought about our conversation from the start of the last season. You mentioned then that the finale was in line with Bruce’s original plan, although the setting changed. Now it seems clear to me why the location played such a significant role in the story.

MOSS The initial thought was that June might return to the woods cabin (the one Luke and June had concealed close to the border, as depicted in season one, episode seven, which we fondly refer to as the “pancake episode”) for a visit. However, before filming began, it was decided that the cabin from earlier remained standing. But later on, Bruce came up with a different location, and I believe it turned out to be far superior.

Initially, it was penned that June steps out onto the Waterford house’s porch. However, I suggested she should enter instead, believing it would add more impact. So, I discussed this with Bruce, inquiring if we could step inside the house. He agreed, appreciating the idea, and consequently, he rewrote it to have June enter the house.

SPEAKER I had hoped for June to return to Boston and essentially re-establish herself there. After all, that area was once hers, but taken away. To regain it and go back symbolizes the culmination of that chapter in her life. She’s physically back where she started, but her circumstances are drastically altered now.

In the novel, she writes [the story] in a cabin located in Maine and conceals it underground. Lizzie and I had discussed this possibility, and it could have been executed here, with her returning to Gilead at the end. However, much of the series was deeply rooted in its setting, particularly Boston. The visual of her strolling through those streets and familiar locations as a liberated individual, which Alexis Bledel’s character describes as unimaginable, was powerful. And indeed, this scene unfolded. Therefore, we should adapt our perceptions of what is feasible and what is infeasible.

Were the ending scenes of the script hidden from the actors, since they could only see their own roles? Was it also your decision, as the director, to seal off the set during the shooting of that final scene in order to maintain secrecy about it?

In essence, I chose to shut down the set, not out of secrecy, but primarily due to the necessity for a tranquil environment that day. You see, when filming the concluding scene of a production, it naturally garners some attention. Thus, I was essentially safeguarding my actor, who happens to be me in this case. The task at hand on that particular day was challenging – wrapping up a series as an actor while orchestrating that final poignant moment. Therefore, the set had to be closed for that reason. Additionally, I also shut down the set during the final scene within the plane in episode nine, specifically the scene between Whitford and Minghella before Lawrence and Nick’s demise.

Rebuilding this Waterford house set was a significant endeavor for us, Lizzie as the director, myself as the writer, and both of us in our roles as executive producers. This project was one we were deeply committed to, given the tightening budgets in Hollywood, which also affects our show. At the end of the production, there’s no extra money left, so we had to plan carefully for what we could afford, knowing we wouldn’t be able to acquire anything additional afterwards. To minimize costs, we gave Elisabeth Williams and her team ample time to prepare. Building the house interiors again proved to be an enjoyable challenge for them. The hallway leading to her room has a unique design, with steps that rise and fall, giving it a feel similar to a claustrophobic funhouse staircase.

As far as I know, there aren’t many directors who appear in their own final scene when wrapping up a lengthy TV show.

MOSS That’s an interesting query! It would be fascinating to discover the answer. Working with this cast, crew has significantly enhanced my skills as a director, actor, and producer. They have played a crucial role in improving my abilities. I often reminisce about collaborating with [season six showrunners] Eric Tuchman and Yahlin Chang. I feel we could potentially return and work together again at some point. The current landscape allows us to do something new if we so choose. There’s no restriction preventing us. The rules have become more flexible. However, I believe the way we left it is perfect. They executed a masterful job in wrapping up the series.

ALTERNATIVE_MILLER Lizzie did an outstanding job recently. In the last few episodes, she introduced fresh aspects to her portrayal of June, which is quite impressive given we’re now six seasons into the series. The scene where June forgives Serena [in the finale] is some of the finest work [she and Yvonne Strahovski have] produced.

As a devoted admirer, I found it incredibly fitting that Lizzie took the helm in directing and acting during the final episode. After all, we’ve been discussing this possibility for quite some time. Contrary to what one might expect, given its intimate nature, Lizzie was just as open and collaborative with the crew as ever. It truly was a team effort, and for Lizzie, it represented that cherished collective experience she always thrives on. Frankly, there are few individuals who can match her influence over the show. Beyond directing and producing, Lizzie’s creative involvement runs deep and wide within the series. I believe this comprehensive understanding of the show made the final scene all the more seamless. Both Lizzie and I were convinced about our vision for it, and fortunately, I was able to trust her to execute it independently. I knew she would get it right, and she did.

Lizzie, were you listening to yourself [from the pilot] as you were saying your final lines?

During the final shoot, I suddenly noticed that for the closing narration, I wanted it to resemble the tone of the original voiceover from episode one. Initially, I wasn’t certain if this was something I desired, but I soon realized the necessity to synchronize my delivery with the words from the pilot. As we prepared for the concluding shot of the series, I turned to the Hulu app on my phone, replaying episode one repeatedly until I had memorized the script in a similar rhythm. I made it clear to our script supervisor that there could be no errors in my delivery, as this needed to be word-perfect. Afterward, we managed to achieve a nearly perfect match, with only a minor change in cadence during my body movement when leaning forward. However, the voiceover you hear in the finale is from nine years ago.>

In Bruce’s repeated assertion that the show was June’s story, we were led to believe she would survive. Despite this, the audience remained uncertain about her survival. Upon rewatching the pilot, it becomes quite striking and meta when considering what you’ve mentioned.

MOSS That’s fantastic! [Using a narrator’s voice] This concept was my own creation, and I wasn’t sure if it would take off, but surprisingly, it did, making it even more captivating due to its slightly detached quality that intrigues. I believe that on some level, the viewers unconsciously sense the meta aspect of it, particularly when she introduces herself as “Offred.” The tape recording click in the pilot, following the door slam, further emphasizes this meta nature.

In the initial recording we added for our pilot episode, there’s a sound effect we’ve been pondering about ever since.

Additionally, I’m unaware of any other series that received a sequel partway through its run, leaving it to both resolve the current storyline and keep the universe open-ended.

MILLER The essential point is, I’ll need some leeway. Normally, when transforming a book into a series or film, the original author isn’t involved in the subsequent works. However, there are exceptions like Game of Thrones. Typically, these are books that were written long ago. In this specific scenario, there are numerous advantages to having Margaret present that surpass the challenge of allowing her to occasionally alter her world as she sees fit. Granted, she has that ability.

Essentially, when considering “The Testaments”, it’s crucial to understand that this novel serves as a sequel to the original book, “The Handmaid’s Tale”. While there are differences between the narrative of the book and the TV series, particularly in terms of timeline, consistency is key within the television universe. As the author of “The Testaments”, I am aiming to craft a continuation that harmonizes with the TV adaptation of “The Handmaid’s Tale”. However, it’s important to remember that each adaptation should maintain its own integrity, and there may be instances where the book and the show differ.

As a devoted fan, I find myself pondering the fate of June, alongside Luke, Rita (Amanda Brugel), and Moira (Samira Wiley), all seemingly battling against Gilead in the vast expanse of this TV universe. While Moss serves as an executive producer for “The Testaments”, no details have been disclosed about her potential on-screen role. To those who yearn to see June in “The Testaments”, I would say, keep hope alive and stay tuned for any updates from the creators. The story of Gilead is far from over!

It’s great that we can hold onto hope. I sure do hope she’ll appear in the story too, as she continues to carry out her role much like she did in “The Handmaid’s Tale.” Remember, Luke and Moira are still searching for Hannah, using every means possible. Watching “The Handmaid’s Tale” gives us a sense of the vast network of people who are working tirelessly and bravely to be reunited with their loved ones. The characters in “The Testaments” may not share this understanding, but as viewers of “Handmaid’s,” we realize that there’s an entire operation underway. So, does June impact “The Testaments”? Definitely. She’s out there, striving to bring Hannah back. I’d be thrilled if we got to see more of her on screen. I adore Elisabeth Moss; she’s fantastic! She’s deeply invested in the series off-camera as well.

MOSS You’ll need to catch the show since I won’t be there for filming due to my role in the upcoming Apple series titled “Imperfect Women”. As a producer, this is a change from being on set for “The Testaments”. However, I can’t just step back; it’s not in my nature. It’s always been about being involved, and right now, with all these emails, it definitely feels that way!

If we hadn’t managed to retrieve Hannah, was it your plan all along to return Janine to Charlotte instead? I appreciate your clarification on that.

As a devoted gamer, let me tell you, it’s uncanny how similar that little girl resembles her. From the get-go, we’ve been discussing and developing Naomi and Janine, with a key focus on this moment where Naomi truly understands Janine’s grit, which is crucial when she returns Hannah. I genuinely wish June gets Hannah back, but more than that, I hope viewers find this conclusion fitting for Janine’s journey. It’s heart-wrenching to think about not being able to collaborate with or see Maddie Brewer daily anymore.

MOSS Initially, Ever wasn’t part of that particular scene, but I requested if she could join. I deeply desired for her to contribute to it. I believed it was crucial that Naomi was the one who delivered Charlotte to Janine in the story. It felt like this moment was a significant conclusion for Ever and a fitting ending for that character within the series. The scene with Janine is particularly moving for me.

Could there be a place for Janine in the background fight in The Testaments?

PARAPHRASING: I am extremely excited! Visualize if you will, that all these individuals continue to battle tirelessly to rescue the girls depicted in “The Testaments”. They are persistently fighting, fighting, fighting. Despite Gilead’s tranquil appearance and its sweet, human, and beautiful portrayal in “The Testaments”, remember there are people relentlessly hammering against the walls from outside – people you have encountered.

One possible character who might not be involved in the battle is Serena. I’ve learned that there was an alternative ending planned for her, unlike the one we eventually witnessed.

MILLER I didn’t subscribe to the notion of ‘what people deserve,’ but I felt compelled to eliminate her. I considered her an exceptionally vile individual, and meeting a grim end on the side of the road, unknown and anonymous, seemed a suitable retribution, especially given that she was shoved from the train at the beginning of the season. I had to be dissuaded from throwing her off the train together with the child.

Wow.

As a devoted fan of Serena, Bruce shared his ideas with me, mentioning some intriguing possibilities he was considering. As much as I value the writer’s role, I couldn’t help but feel a stirring of excitement at the prospect of these twists. Deep down, I yearned for her survival, as I believe Serena is an exceptional character who truly deserves to live. I also think her son Noah would benefit from having his mother around.

INTERPRETATION If Eva Braun and Hitler’s child were involved, there would be no doubt about what to do. However, I am pleased with how our narrative unfolded because my intention was for each character to achieve their desires and see the consequences. June received much of what she desired, such as Emily’s return and reunion with Luke, who she believed was deceased at the start. Serena’s storyline seems to conclude her journey, suggesting a person who will never acknowledge their mistakes. Yet, it’s evident that maintaining the belief that she did right is becoming increasingly challenging. I have a soft spot for Serena, and my anger towards her stems from the fact that someone in her position should be more aware of their actions.

As a gamer, experiencing June’s forgiveness at the end made me feel like I had been given the green light to accept that outcome too.

MOSS That particular scene moves me deeply. I find it stunningly beautiful. Reading Serena’s final moments left me tearful, and watching it does too. Yvonne’s acting is simply outstanding. Each actor in this season delivers an exceptional performance. Remarkably, she performed the entire speech to the baby in a single take. Discussing that powerful speech sends shivers down my spine.

In summary, Referring to their performances in the last episode, everyone truly excelled and introduced fresh elements. It’s astonishing how they managed to deliver such unexpected moments, revealing previously unseen aspects of the characters just when we least expected it.

As a gamer immersed in the narrative, I couldn’t help but share Yvonne’s vision of reaching a state of tranquility and contentment at the game’s end. It would have been simple to rush through that scene, but during editing, I guarded it because Yvonne yearned for her character to find solace. The serenity on her face when she understands Noah is all she needs speaks volumes. That was Serena’s ultimate dream: having a child. To me, her ending in the series is simply flawless, a perfect conclusion indeed.

When I got word that Alexis Bledel, who departed the series post-season four, was being asked to return, was it a tough sell or did she leap at the chance? From my perspective as a gamer, I’d imagine it was more of the latter: “Hell yeah! Sign me up!”

MILLER We were both delighted at the prospect of things working out. I believe she was extremely enthusiastic during our conversation. The challenge lay in arranging a suitable time for her to join us. However, it wasn’t difficult at all, and making the decision to attempt contacting her about availability was effortless. It was a joy having her with us that day – except she seemed emotionally drained, constantly crying and hugging people. It was heartwarming to witness her and Lizzie quickly resuming their bond after such a long absence. Watching these guys work together is like watching the Yankees bullpen every day; they’re exceptionally skillful, truly impressive!

As a dedicated gamer, I remember when Bruce first mentioned bringing back that character, long before there were any concrete plans or scripts in place. I recall telling him then and there, “You know we have to make this happen.” Calling an actor and asking them to return for just one episode isn’t always straightforward – they’re often busy with other projects. Yet, I was adamant that she had to be a part of it. My enthusiasm for these roles runs deep! Fortunately, she was eager to join the project from the start, needing no persuasion at all. On our very first day on set, my first official scene was with Alexis – it felt great to collaborate with her once more.

Were there characters along the way who you considered killing but let live?

MILLER Honestly, I don’t consider it like that. I wonder, do these characters reach a place where they wouldn’t survive or not? Since the handmaid narrated this story, she had to make it to the end, so there are scenes involving explosions and such. That’s part of the tale. However, for other characters – though I don’t wish harm on anyone, if Janine or Alma (Nina Kiri) were to perish, I believe I wouldn’t be able to move on. If both Janine and Alma died, I would never recover. In a television series, characters pass away frequently. When people close to us die, it significantly alters our lives. I’m not sure June would remain the same June if all these characters had been written out of the story. One reason these characters are etched in her memory is because they survived.

In the closing scenes of MOSS, I’m hoping the audience perceives the optimism. The uplifting tune that accompanies the credits symbolizes hopefulness. This particular melody was selected from season four, when June reveals her pregnancy to Luke. It carries a strong message about the future and its potential for improvement, as well as the next generation having a greater opportunity. Therefore, the choice we made regarding the series finale is all about the prospect of a better future.

Could we possibly interpret their final conversation in June and Luke as a source of optimism, given its vague nature?

ASSISTANT Certainly! I believe my previous response was quite clear, not at all ambiguous. When I stood beside him, I could sense a glimmer of hope in our shared future. Our intention was to portray their interactions as if they were developing romantic feelings for each other, hinting at mutual crushes. It seemed as if they might retrace their steps, given the cyclical quality of the finale’s resolution. There’s definitely room for optimism regarding these two characters, but I feel they must begin anew in order to truly move forward.

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You can now stream every episode of “The Handmaid’s Tale” on Hulu. Check out The Hollywood Reporter’s in-depth account of the show, as well as their brief behind-the-scenes story on the second-to-last episode.

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2025-05-27 07:56