This week we get a glimpse into Gilead that we weren’t previously granted. In this new society – how does our nationals capital fair? June and the Waterfords make their way to the big, bustling city, stay in the home of a powerful family, and what we learn is… it could be worse.
After last week’s betrayal by Serena Joy (Yvonne Strahovski), Commander Waterford (Joseph Fiennes) brings June along, despite her no longer being their handmaiden, to a trip to the capital.
A Trip, A Plea, And A Bargain?
Yes, that sounds just about as exciting as it does when mentioned in The Hunger Games. Their desire is to persuade Canada to give up Nichole, and somehow this isn’t immediately squashed. Considering Canada takes in those who have escaped their clutches, they are still contemplating diplomacy, and Switzerland gets in the middle of it as well.
The trip brings about a few changes that are bound to give you whiplash. Christopher Meloni is Commander Winslow and Elizabeth Reaser his wife, play the couple they stay with and their handful of children makes everyone a little uneasy. Serena has arrived, fighting to get her “daughter” back and yet they have a house full.
There’s also a new accessory to the Handmaid’s attire: a red piece of fabric that extends above the mouth, muzzling and invoking silence. When the woman that June is bunking with removes the outer layer, she reveals a shocking metal set of bars over her lips, keeping their mouths permanently shut.
June reflects our feelings as viewers as we see this mutilation. Gilead isn’t known for being kind to these women (or any) but specifically handmaids, despite their “holy call.” However, this is a whole new level of disdain and agony. Add to this the destruction of the Lincoln memorial and such segregation that the Handmaids have to go to their “spot” a red circle, and kneel, until they are collected… and you can immediately tell that this isn’t a good place to be.
When June meets with the delegates, they strike a deal, requiring someone from the inside to discuss pertinent information on Gilead. She believes that Nick, who everyone seems to know is Nichole’s father because the tape she sent Luke was confiscated, will do so.
Another Discovery, Another Disappointment
Nick (Max Minghella) makes a reentry, still alive, and still the soldier. This time he’s tested more than ever before. When they first reunite, they steal touches and then later- kisses, and it’s sweet. Right? When June asks him, he says yes, but the next day she finds out that he didn’t agree.
We also find out he’s got a history as a soldier, one that was instrumental in the creation of this heinous society. What does this mean? Is Nick not who we thought he was? I can’t help but grip to that last kernel of hope for his character. Maybe he’s got something planned, because I don’t doubt his love for June, but his love for Gilead… may win out.
Who hasn’t let June down at this point? It’s become clearer to her with every new move that she can’t fully trust anyone. Maybe this will be the straw that really plummets her forward into the ranks of the resistance, merciless and as independent as ever.
“Household” is redolent with disturbing new discoveries, and plenty of reminders of how dark and dirty the government of Gilead can be. There’s also fancy (for them at least) new attire, new faces, and plenty of secrets going around.
Aunt Lydia (Ann Dowd) gives us another mysterious moment of empathy, when June asks if she desires all the handmaid’s to be silenced, and she emotionally says no. What’s her real stance? How’d she end up this way? I’d love to see more of her backstory. The scenes that Elisabeth Moss and her share are always so intense. Moss continues to prove herself as one of the best on TV.
There isn’t a lot that happens in this episode, and that’s okay for the most part. The revelations will work enough to push it forward, but there’s still a semblance of something lacking.
Conclusion: The Handmaid’s Tale – “Household”
This episode is especially breathtaking with its visuals. There’s a lot of new territory to explore and the show makes full use artistically. There isn’t a scene that can’t be aesthetically appreciated, a detail left unfocused. The narrative, however, hits some still waters, regardless of the effort of the showmakers and director Dearbhla Walsh. This is a series with such profound elements that they are sometimes harsh to a fault.
Still, this episode opened up some new wounds (yes, there’s really so much more that can be done to inflict pain, and test June’s patience). With a revelation about Nick, which somehow thrusts his character’s shadowy past into the light and yet still manages to keep him an enigma, and some very discomforting and provocative information about the Handmaid’s in this area, the show still beats on.
What did you think? How did the episode rank? What do you think June’s next move will be?
New episodes of The Handmaid’s tale premiere every Wednesday on Hulu
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