The Handmaid’s Tale burst onto the TV scene eight years ago and launched its sixth and final season earlier this month. From the start, it is an exercise in blunt-force storytelling, eschewing moral subtlety in favor of a didacticism intended to remind progressives of their inherent goodness. The Sons of Jacob, rulers of the Christian-nationalist dystopia called Gilead, are evil. They have replaced America with a slave state dedicated to systematic sexual assault. Those who resist, led by protagonist June Osborne (Elisabeth Moss), are righteous. And into one camp or the other, every character goes.
Even in its early seasons, the series is ridiculous: a bloated, hysterical attack on exactly the wrong target. Yet even conservatives have to admit that its world-building is not without the
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