The handmaids tale phim đánh giá

In the powerful Season 5 premiere; June (Elisabeth Moss) struggles as she considers her next move after killing Commander Waterford. Meanwhile; Serena Joy (Yvonne Strahovski) is left reeling after the death of her husband. Ann Dowd; Madeline Brewer and O-T Fagbenle also star.

June (Elisabeth Moss) and Luke (O-T Fagbenle) attend a ballet; and Serena (Yvonne Strahovski) says her final goodbye to her husband; Fred. Meanwhile; Janine (Madeline Brewer) and Esther (Mckenna Grace) accompany Aunt Lydia (Ann Dowd) to a gathering at the Putnam house.

June (Elisabeth Moss) and Moira (Samira Wiley) journey to the border to send a message. Meanwhile Serena Joy (Yvonne Strahovski) attends a dinner party at the Lawrence house; and Aunt Lydia (Ann Dowd) prays for Janine's (Madeline Brewer) recovery. Bradley Whitford also stars.

In this powerful episode; June (Elisabeth Moss) works to overcome her violent instincts all while grappling with Serena's close proximity. Meanwhile; Serena Joy (Yvonne Strahovski) settles into her new role in Toronto; and Aunt Lydia (Ann Dowd) helps Janine (Madeline Brewer) with her recovery.

In this episode, June (Elisabeth Moss) and Luke (O-T Fagbenle) venture into unfamiliar territory in search of information. Meanwhile, Serena Joy (Yvonne Strahovski) continues to settle into her new role and gets to know her new hosts. Ann Dowd, Madeline Brewer and Amanda Brugel also star.

June (Elisabeth Moss) finds that she much teach Luke (O-T Fagbenle) the basics of survival…basics she has sadly learned very well. Meanwhile, Serena Joy (Yvonne Strahovski) tests the hospitality of her new hosts, The Wheelers, and Aunt Lydia (Ann Dowd) makes a very surprising discovery.

In a surprising turn of event, alone and isolated, June (Elisabeth Moss) and Serena (Yvonne Strahovski) find that they must labor together in order for both of them to survive their ordeal.

June (Elisabeth Moss) receives an extremely tempting offer from a surprise visitor. Meanwhile, Serena Joy (Yvonne Strahovski) finally hits rock bottom and begins a desperate search for allies…any allies.

In the penultimate episode of Season 5, June (Elisabeth Moss) and Luke (O-T Fagbenle) prepare for a rescue mission. Meanwhile, Serena Joy (Yvonne Strahovski) experiments with new tactics in an attempt to have it all. Ann Dowd and Madeline Brewer also star.

In the powerful season finale, June (Elisabeth Moss) finds herself under threat and must find some way to keep herself and her family safe from Gilead and its zealous supporters in Toronto. O-T Fagbenle, Yvonne Strahovski, Ann Dowd, Samira Wiley and Madeline Brewer also star.

501 The Handmaid's Tale (Season 5) Trailer

14/9/22

Chỉ theo mùa

This season; June faces consequences for her shocking past actions; all while struggling to redefine her identity and purpose. Serena attempts to raise her profile in Toronto as Gilead's influence creeps into Canada. Commander Lawrence works with Aunt Lydia to reform Gilead and rise in power. And June; Luke and Moira fight Gilead from a distance as they continue their mission to save Hannah.

BOSTON — Long before the Hulu series, the viral marketing and the protest bonnets, there was the opera.

Which makes sense. Opera, as the scholar Catherine Clément has written, is built on “the undoing of women.” So “The Handmaid’s Tale,” Margaret Atwood’s 1985 novel about a dystopian but all-too-possible theocracy built on rituals of rape and repression, was always a natural fit with “Lucia” and “La Traviata.”

Composed by Poul Ruders to a faithful, slightly clunky libretto by the actor and writer Paul Bentley, “The Handmaid’s Tale” had its premiere in Copenhagen nearly two decades ago, and its only production in the United States, at the Minnesota Opera, in 2003.

That’s a shame. The Boston Lyric Opera’s staging, which runs through Sunday, reveals it to be a brilliant, brutal opera, one that should be taken up widely. Even if it is, though, I doubt that it will be done as powerfully. This is a triumph for the Boston company.

[Read more about the production.]

Why? For one thing, there’s the matter of location. Under the artistic direction of Esther Nelson, the Lyric had made a habit of taking at least one of its four annual productions out of the opera house even before it lost its home, the Shubert Theater, in 2015. Plenty of companies have been doing the same, and like a lot (though not all) of that work, some of the Lyric’s productions have had only the loosest connection between the sites chosen and the operas presented.

Not this time. Ms. Atwood’s book is set in the Republic of Gilead — a future version of Massachusetts, evocative for its Puritan roots. It opens in a gymnasium, a basketball court — probably the very one in which the Lyric’s production takes place: the Lavietes Pavilion, just across the Charles River from Harvard Yard. In the opera, like the novel, we see a descent into dictatorship through the memories of a witness, Offred, who tries to challenge her oppression after being captured by the regime and forced into slavery for her fertility. This production tells her story where she lived it.

Although it is challenging to stage an opera in a sports arena, especially one with a large cast and a very large orchestra, the challenges are surmounted by the director Anne Bogart, the movement director Shura Baryshnikov and the designer James Scheutte. The action takes place at center court, surrounded on three sides by seats and bleachers, and on the fourth by the orchestra, piled in where one hoop ought to be. The buzzer is repurposed as if it were a prison bell. The set is bare; the few props are wheeled on and off by Gilead’s riot police. The sound is better than it has any right to be, helped by a hint of amplification and decent balancing by the conductor, David Angus.

Mr. Ruders’s score is oppressive — too much so for comfortable listening, though that’s probably the point. Cut slightly, and wisely, by the composer for this production to focus the story more on its essentials, it lets up barely at all, except for a remarkably tender, second-act duet between Offred and her past self about her love for a daughter lost to the regime.

The score sets a harsh, dissonant, unrelenting portrait of the power and savagery of Gilead against static, quieter sounds for Offred’s interior life, sounds that always feel profoundly menaced and unhappy. The atmosphere is stifling, resonant of Berg but also, with its use of hymns and an organ, of Britten’s “Peter Grimes.” There is no escape, nor is there joy: Witness the cacophonous, Ivesian punishment that “Amazing Grace” is subjected to in counterpoint to a rape sequence.

Find joy, instead, in the towering account of Offred offered here by the mezzo-soprano Jennifer Johnson Cano. Restless, powerful, profound, she is as formidable as this astonishingly demanding role deserves. Caroline Worra sings Aunt Lydia — the enforcer of mores, the assailer of the weak, the collaborator with the patriarchy — with sadistic relish, half venomous, half gleeful. Among her victims are the resistance member Ofglen, given understanding and sense by Michelle Trainor.

They are not alone in their excellence in a 16-person cast, the women of which sing so well that they make anything seem possible. As the scholar and critic Lucy Caplan notes in a smart program essay, we can see the women of opera as undone, after Catherine Clément — or we can find ways to “defy that ‘undoing.’”

We do not quite know what happens to Offred in the end, as she is hauled away by heavies who might be from the regime, or might be from the resistance. Perhaps the answer is up to us.