THE HANDMAID’S TALE (S3E7) “Under His Eye”: A Bit Of Filler, But Still Compelling

The Handmaid’s Tale this week brings us “Under His Eye” and it is a tedious test in patience, both on the shoulders of the viewer and the characters portrayed. There isn’t a lot that goes on, but (as usual) the slow burn of character arcs proves to be substantial even if the episode doesn’t move the narrative significantly.

Some moments are memorable and meaningful, and others – feel a bit like spinning wheels.

Change Is Coming

There are a lot of allegories within the show, as we are shown scary potential futures to our current reality. I’m not saying we are on the path of Gilead, I’m just saying that the themes of greed and power seem to always be concurrent with the horrible things people have done to one another in history. We have done unfathomable things to each other in the past, and this show uses our own fears as a means of incurring its horrific heft.

Serena Joy (Yvonne Strahovski)  is currently floating on a cloud of naivety, warmed with the promise of money and high society. Her and the commander try to rekindle….something, by dancing at a ball of sorts, and having dinner. She’s also escorted to a home by Mrs. Winslow (Elizabeth Reaser) that hasn’t yet been “restored” and we see a snapshot of what things used to be like. The remains of what was before the birth of Gilead, it’s almost museum like in its frozen state, symbolizing a different time when freedom and decency were more readily available.

As they walk through, it’s hard not to want to shake them both. While Serena is happily walking back into the clutches of Gilead, I have a feeling things will fall down around her once again, eventually. As June warned her last week, she will never be rid of her. And by her, that means all of the horrors that come with this society.

After seeing the capital, back in Boston, there are more sightings of Handmaid’s sporting the silenced attire. There is also an increase in hangings that the Handmaid’s must carry out. It’s a reality that we are often slapped with in this show: things can always get worse.

A Mother’s Drive

Mrs. Lawrence (Julie Dretzin) is taken out on an “adventure” with June, and despite its lack of success, it seems it does her well to leave the house. June talks the commanders wife into it by saying how this is her only chance to see Hannah, her daughter. Dretzin is fantastic, and she’s a character, along with her husband, who still hasn’t fully been explored. I hope there’s more with them because it always proves to be interesting.

This information was leveraged at the grocery store by the Mackenzie’s Martha, as June promised her safety. June is growing somewhat careless with her actions, as she continues to focus on getting Hannah back, but at what cost? By the end of the episode, she’ll be taught, again, the consequences. Especially when you’ve got the watchful eye of the pious Ofmatthew (Ashleigh LaThrop) lingering in the background.

Of course, she doesn’t see Hannah, but in one heart wrenching moment she can hear the children laughing and playing on the other side of a giant wall. She reaches out, yearning to see and touch her again, so close-yet impenetrably far. It really epitomizes her struggle and how close she has been so many times, but there’s always something insurmountable in her way.

I hope, for the sake of the show and its ability to keep us involved, that the metaphorical (and physical) walls come crashing down soon.

The ritual of making Handmaids culpable in hangings is another disturbing notch on the Gilead belt. Here, there’s a group of women heaving on ropes until the deed is done, doing“god’s duty” as Aunt Lydia (Ann Dowd) says. June mentions four in the last week, and the most recent? The Martha that helped her. Ofmatthew says it is for her own good, to lift temptation, and Aunt Lydia parrots this idea. The fury, as June realizes her complicity and the realization that another betrayal has presented itself, glows in her eyes as she lunges for Ofmatthew and has to be restrained.

Another element that The Handmaid’s Tale does well is the timely musical choices. Fiona Apple bellowing as the credits roll perfectly encapsulates the pain and anger of the moment.

Shared Horrors

One of my favorite aspects of the episode (and some of the best this season given the writers lack of commitment to June’s trajectory) is with Emily (Alexis Bledel) and Moira (Samira Wiley) in Canada. This alternate look at life in this dystopian world allows a new vantage that provides some real opportunity for dramatic and grounded performances.

Emily is being interrogated by an Official who recounts the things that she has done. When you’re considering it like this, a laundry list of aggressive acts and attempted murders, it sounds bad. However, in the context of the story, as you remember those moments that she’s accused of, what are they, really, in comparison to the non-stop horror that goes on around them?

It’s reasonable to say that the prospect of Gilead scares the daylights out of me.

I thought the whole point of finding refuge here was to escape the tyrannical forces hellbent on misery and control? Does this mean she could be brought back? Commander Waterford (Joseph Fiennes) is trying to get the Canadians to make deals and send people back across the border. If this happens, they’re all doomed. One interesting detail, he’s okay with baby Nichole staying over there for now, something I’m sure he wants Serena to remain oblivious of.

Moira and Emily share a coffee and conversation and their shared trauma feeds a connection. I love the scene, and when Emily agrees to join her at a protest and you see Emily’s rage ignite, it is a powerful moment. Bledel does some of her best work on this show, and I truly hope that her character isn’t going to be thrust back into the fray.

Nobody is really fairing well this episode, save for maybe The Waterfords as they dance off into a world of disillusionment. And the rich and entitled keep on keeping on.

Sound familiar?

Conclusion: Under His Eye

Overall, this is an episode that doesn’t really stand out. It’s the shortest one this season so far, and while there are aspects that resonate and are bound to create waves that may be engaging, it’s also one of the weakest so far. June’s character is somewhat lost right now, but there’s still time to refocus, or give us more of the shining supporting roles. Either way, the show could benefit from some more cohesion. I’ve enjoyed the season so far, but I’m hoping that the remainder will really dig in.

New episodes of The Handmaid’s Tale premiere every Wednesday on Hulu

What did you think? How do you see the season playing out? Let us know in the comments below!