I don’t
recall how I got dialed in to this show, but it’s the best thing I’ve watched
in a long time. To be fair, I watch very little television, and I consider that
a good thing, as the very precious commodity occurs almost never in the light
switch known as a week.
It’s so
freaking good, though, and of the many reasons why, one cannot be overstated:
We are, in this country, insanely close to this setting being a real
possibility. And if that doesn’t alarm you then you should probably consult a
psychiatrist.
At this
point I don’t have any intention of being an expert on the program, so the
chances of me botching a detail or two are pretty high. And as of right now, I’m
only toying with starting over with episode one of the inaugural season for the
purposes of constructing a per-episode feature.
The skinny is
more or less this, though: The United States as we know it has been taken over.
Repossessed, restructured, and refashioned. The government has been overthrown
and the nation (or at least a part of it) is being run by a collection of
dictators and authoritarians that have basically instilled martial law.
The biggest
takeaway, literally and figuratively, is basic human rights. As in, they’ve
been stripped and reconfigured to only include straight males, most of whom are
white.
Women have
been categorized into three sectors: the fertile, those whom cannot bear
children, and the rejects. The fertile, handmaids, are assigned to a
high-ranking official: commanders. They live in the home with the official and his
family, and they are forced to participate in a ceremony in which the handmaid
lies on the marriage bed, arms clutched by the wife, while the commander pumps
repeatedly until his proverbial load is dumped in the handmaid. It is, by
definition, rape, and is periodically referred to as such in the program. It’s
not what one might normally picture, however, if that concept is a thing you’ve
either envisioned, experienced, or witnessed. It’s all in the name of
procreation, which, in a sense, makes it even creepier than the definition of
rape you might’ve previously had.
Anyway, the
handmaid then delivers this baby and it becomes the child of the commander and
his wife. The women whom cannot bear children are called Marthas. They serve as
maids, butlers, assistants, housekeepers, etc. Slaves, basically. Unlike the
rejects, who have been deemed rebellious, gay, criminal, what have you. They
are sent to these mines where they’re harvesting something that basically dumps
radiation into them and they die, which, once it’s over and done with, is
probably a blessing considering how horrific the conditions are and the
treatment is.
The people
that commit crimes or behave inappropriately, i.e. express homosexuality, a
desire to change gender, or anything outside the norm, get masked in cloth and
murdered. They are hung and placed on a wall, displayed in the square like
sausages in an old-time butcher shop. It is nothing shy of horrific.
And in
fact, most of the show is horrific. It’s dark. It’s wickedly intense,
frightening, and stressful to watch. The positives in this environment appear with
four-leaf-clover frequency.
The show’s
protagonist, June Osborne, displays a first-hand example of what life in Gilead
(the new United States) is like. The initial episode shows her, her husband,
and their daughter fleeing the country. They’re making a proverbial run for the
border (in this case Canada, not Taco Bell) when they become separated. Her husband
escapes; June and Hannah do not. From that point on the program centers on June’s
varying tolerance of her new normal, how she combats it and in many instances,
how she is consumed by it. The level of horrible she experiences is almost
impossible to stomach and in a number of circumstances she doesn’t have it as
bad as some of the other handmaids.
When I first
discovered The Handmaid’s Tale two
years ago, I consumed season one in two sittings. It’s that good. Waiting an
entire year was brutal, but proved worth it. Season two did not disappoint.
Stakes were upped, worse got worser, and the balance of hopelessness versus possibility
was suffocatingly perfect.
Marking off
the calendar days for the current season to start felt akin to trying to get
the last couple of doses out of the shampoo bottle, but once it was here, it
was great to be back.
Season
Three has had a couple of valleys in the sense that I, on a couple of
occasions, wondered if the writers and producers had painted themselves into a
corner where new variations of the same theme were going to turn the show
stale. Where these trajectories periodically dipped, however, the ensuing peaks
have more than made up for what might’ve been construed as monotony, perhaps
all of which was by design.
And now we’re
on the cusp of another wait, as only one episode remains.
Anyway,
yesterday’s episode (12 of 13) followed a wild episode 11 and kept up the intensity.
Serious shit is taking place within the primary-character circle, and the way
they have the season planned to end has likely got most viewers on the edge of
their seats. I mean, that’s how these things go, right? Big to-do in a season’s
closer, get you mentally committed for next year.
I’m not a
television expert, but this has got to be top-notch production. The acting
rings with real emotion, the selected scores scar, delight, and sometimes taint
with irony. And again: The very-real, very-frightening possibility of this world
shifting from construed to the shelves of non-fiction is alarming and
unsettling at best. The environment of The
Handmaid’s Tale is the very reason why those that preach inclusion are in
perpetual clash mode with those that do not.
If you
haven’t gotten on board, now’s the perfect time to do so. You’ve got the better
part of a year to indulge in three seasons of remarkable television. And hey -- Who doesn't love having their life surrounded by terrifying, omni-present, indecipherable citizen's-band-radio garble?