Follow TV Tropes


YMMV / The Handmaid's Tale

Go To

For the Book

  • Acceptable Targets: Sex-work-exclusionary radical feminists. They are portrayed as having collaborated with the Sons of Jacob due to their shared opposition to pornography and prostitution, only to be purged once they outlived their usefulness. At the time she wrote the novel, Atwood was watching radical feminist groups work with the Ronald Reagan administration to crack down on porn, and she was not amused.
  • Advertisement:
  • Accidental Aesop: The book, written before 9/11, undermines the idea that the terrorist attacks were an inside job, as it discusses exactly what kind of people would carry out a such False Flag Operation, what it would look like, and what they would do with their resultant influence.
  • Applicability: Gilead can be interpreted as a satire of either the American right-wing or of Islamic fundamentalists.
  • Harsher in Hindsight:
    • The Handmaid's Tale was, of course, written as an incredibly Anvilicious social commentary on Christian fundamentalism. But the horrible thing is that there are real-life political figures of some influence who actually advocate things far too close to Gilead for comfort.
    • Not to mention that, though Atwood focuses on Christian fundamentalism, the themes have already happened for women in some countries such as Iran, which regressed from its more liberal ideas decades ago when taken over by religious (Muslim) fundamentalists. See Nightmare Fuel.
    • Advertisement:
    • Researchers have known for at least 20 years (e.g. British Medical Journal, 1992 "Evidence for decreasing quality of semen during past 50 years") that sperm counts are dropping. The issue has been intermittently in the public eye since then, with environmental pollutants named as a possible contributor (obesity and inactivity are known contributors).
    • On the flipside, women have recently started to cosplay as Handmaids as political protest.
    • Offred being separated from her daughter after making a failed run for the border when it was revealed that ICE was separating migrant families in 2018.
  • Misaimed Fandom:
    • The book is extremely popular with radical feminists, such as female separatists or anti-porn feminists, despite the fact that Atwood portrays these people, such as Offred's mother, as being Not So Different from Gilead and supports a more moderate version of feminism
    • Advertisement:
    • Many believe this book is anti-religious, but Word of God (ironically) states that it is not anti-religious, and is only opposed to the ways religion oppresses women. (Gilead is run by a branch of fundamentalist Protestants, who persecute members of other Christian denominations, such as Catholics or Baptists).
  • Padding: The repetition and lengthy atmospheric descriptions can seem like this, particularly to readers already familiar with the genre.
  • Sci Fi Ghetto: Margaret Atwood insists the book is Speculative Fiction, but not Science Fiction. "Science fiction has monsters and spaceships; speculative fiction could really happen." The book won the first Arthur C. Clarke award in 1987.
    • There are signs that Atwood's mellowed since then and the book is taught in University literature courses at least in Canada, France and the Netherlands.
  • Some Anvils Need to Be Dropped: Religious fundamentalism can be just as oppressive as other forms of tyranny, and women deserve to be treated as equals.
  • Values Dissonance: If Luke cheated on his wife when he met June (as opposed to the two having separated and decided to divorce and him already moving on) while there's nothing odd in the 20th and 21st centuries about portraying a woman pursuing her own desires by sleeping with a married man as positive (though it is not without its own negative implications), it's not common for feminist works not to condemn a man who cheats on his wife or partner; as June is the narrator of the story, the text naturally has nothing negative to say about Luke's treatment of his first wife, thus portraying cheating on a woman as perfectly acceptable.
    • Deconstructed in the TV show, as the TV show has an episode that has Luke's wife show up and make it clear that she considers June a husband stealing whore and denounces her for destroying their marriage. This is later amplified, as the TV show also plays up Moira's in-book dislike of Luke due to him being a potential serial cheater, while also having Moira and Luke basically becoming a makeshift family raising baby Nicole and becoming slightly peeved when their living situation is interrupted with June's return.

For the Series

  • Alas, Poor Scrappy: Eden wasn't very well-liked at first, partially because she causes problems for Nick and June, and also because she's a pious follower of Gilead. (Though some viewers acknowledged that, unlike Serena, Eden is not malicious, and Gilead is all she's ever known as young teen, so it's not really fair to hate her for that.) The Squick of her marriage to Nick didn't help. But then came her execution. The sheer tragedy of the situation, along with Eden's dignity and bravery in the face of her own death, turned around many people's opinions. The reigning sentiment tends to be either, "Poor girl" or "We were too hard on her."
  • Alternate Character Interpretation:
    • Is Ofglen really part of La Résistance, or is she just another Handmaid who cracked under the pressure and is acting out a spy fantasy to stay sane?
    • Luke. In the flashback where his ex-wife confronts June she comes across as rather reasonable despite clearly being desperate. Then when June walks in on him while he is leaving his ex a message his tone and words are very harsh, maybe even downright abusive. Plus even though their marriage was over, he didn’t wait until it was finalized to start his affair with June.
    • Fred: Is he really a believer in Gilead? Or does he just enjoy his new power?
    • Eden’s Father: he sure seems like a true believer in Gilead and the fact that he turned his own daughter in is despicable to the audience. But was he simply making a sadistic choice to save his other daughter and probably his wife as well? Remember that Eden went back home which is the first place authorities in a society with due process are going to look. How long would it have taken Gileadean Eyes to find her? We know that children are removed from “unfit” homes and parents executed or sent to the colonies. We also know that even though Eden seemed like a true believer she did read. Was her father hoping that maybe she would get a lighter sentence if she confessed her sins? Was his grovelling to the Waterfords a last desperate attempt to save the rest of his family?
    • The doctor who offered to impregnate June. Did he genuinely want to help in one of the safest ways for him that he could? Was he trying to use her and possibly other women's position as (a) sex slave(s) to try to score for himself? A combination? Or would he have reported her if she said yes? If he has successfully impregnated other women, has/will he attempt blackmail? His consistent amiability and lack of pressure when she says no doesn't give any true clues to what his motivation might have been.
    • The Wife who suggested to Emily that she could play sick to avoid the Ceremony that month, and, by extension, the Wives' general automatic culpability in the Handmaids rape. We've seen many truly responsible, and one completely innocent, which was possible, because her husband also wasn't interested. But can a Wife just refuse to partake in the Ceremony and spare the Handmaid? Or is there some extension of Marital Rape License that makes the 'I can pretend I'm sick' the only way out?
  • Anvilicious: A lot of the criticism of the second season was that the writers seemed to go out of their way to show how oppressive Gilead is, with some critics calling it "Torture Porn".
  • Arc Fatigue: After all the promises that Season 3 would finally show the Handmaids rebelling and getting their righteous vengeance against Gilead, a lot of fans were quite put off that the season is really just more of the same, long after the point has been made and we'd like to move past the endless misogynist cruelty with no comeuppance. At the same time, the producers stated they hoped to have as many as ten seasons, raising serious questions about how many people would be willing to spend that long watching June be a Failure Hero who never manages any lasting change in Gilead.
  • Ass Pull: June staying in Gilead at the end of Season 2. Even several characters point out how little sense it makes, and many fans and critics called out that it seems the entire reason it happens is that the alternative would be a much bigger change to the show's setup than the crew were willing to make.
  • Author's Saving Throw: Season 4 clearly shows the crew heard the fans' complaints about Arc Fatigue in the previous two seasons, as the amount of forward progress June makes increases exponentially from them (and includes a few teases that we're going back to the status quo before making that progress, in a bit of Trolling Creator). It also goes back to being ten episodes like the first season, after the second and third were widely accused of being full of obvious Padding at thirteen.
  • Award Snub:
    • After performing incredibly well at the Emmys for its first season, the show was largely expected to have similar success for Season 2, especially after it earned 20 nominations (up from the 13 it had gotten the year before). Its performance at that year's Creative Arts Ceremony seemd to support this, as it won for Drama Guest Actress (Samira Wiley), Editing, and Production Design. However, at the main Emmy ceremony, many were surprised when it ended up getting completely shut out, with it largely being overshadowed by Game of Thrones (which had been absent the year before when The Handmaid's Tale had dominated), The Crown (2016), and the final season of The Americans. The most stunning loss for fans was in Supporting Actress, when Yvonne Strahovski, Ann Dowd, and Alexis Bledel all lost to Thandie Newton for Westworld.
    • Elisabeth Moss was snubbed at the Emmys for Season 3.
  • Awesome Music:
    • The remix of Heart of Glass by Blondie that plays during the protest scene early in the first season. It amps up the tension of the scene from unsettling to utterly terrifying, especially given the progression of that particular episode, which shows the gradual transformation of America into Gilead.
    • The ethereal cover of "For What It's Worth" in the Season 2 teaser.
    • The closing credits of "First Blood", after Lillie suicide bombs the whole Gilead government. Cue the X-Ray Spex.
    Some people think little girls should be seen and not 'eard, but I say - OH BONDAGE, UP YOURS! ONE TWO THREE FOUR!
  • Base-Breaking Character: Serena. While everyone agrees she's detestable for her role in bringing about Gilead and her treatment of June, the fanbase is split on whether she deserves any sympathy or not. Some see her humanizing moments and her own mistreatment by Gilead as proof that she's worthy of pity and maybe redemption, while others feel that she made her bed, and now she can lie in it. And some think that while she deserves to suffer, suffering inflicted by people who are even worse than her doesn't feel like justice.
    • Emily; partly because the writers rushed through her entire storyline in three episodes and the fact that she got repeated mulligans from authorities on the TV shows, while refusing to properly follow her character's arc (which has her kill herself rather than be taken alive and give up information on Mayday).
  • Catharsis Factor:
    • Commander Putnam getting his arm cut off as a punishment for "the sin of lust", at his own wife's urging. Sure, it's because of pissing off Naomi, not because of mistreating Janine, but it's still satisfying to see that even the Commanders sometimes have to pay for the atrocities they commit. Especially after seeing how Waterford and some other Commanders engaging in similar acts, who treated the accusation almost as a joke, go from the Smug Snake mode to Oh, Crap! upon seeing that the consequences are real.
    • After two remorselessly bleak and depressing seasons, the ending of "First Blood", where the second Ofglen, Lillie blows the upper echelon of Gilead to smithereens in a suicide bombing is ridiculously satisfying. Especially ironic because it's the exact same way those same bastards killed off the leaders of the previous American government in a violent coup.
    • Almost the entirety of Smart Power. While A Woman's Place had the Mexican delegation almost willfully ignorant of how bad Gilead was treating its women, Canada barely conceals its contempt towards Gilead. It's especially satisfying seeing Fred being angrily confronted by Luke and Moira, and Serena Joy's episode-long realization of Be Careful What You Wish For; particularly the representative of the American government in exile curtly reminding her that she committed treason by taking part in Gilead's coup.
    • After two entire seasons of her being a smug, preening Karma Houdini of the foulest kind, Emily violently stabbing Aunt Lydia and kicking her down the stairs is so satisfying it's hard not to stand up and cheer, especially when Lydia was mocking Emily about her cliterdectomy (and Lilly's Tongue Trauma) moments earlier.
    • After two seasons of Emily suffering and believing she'll never escape Gilead, the third season premiere shows her making it to Canada with June's baby, and being finally being treated with kindness and respect by people in power. The scene where she claims asylum is one of the most powerful tearjerkers in the show, partially because it's such a long time coming.
    • June's call out to Serena Joy beneath the beheaded Lincoln Memorial caps off any sympathy June has for Serena Joy, as well as admitting that maybe letting the baby keep Serena's forced name Nichole turned out to not be a good idea.
    • The aptly titled “Liars” has two big ones: June breaks out of her usual catatonia while being raped and kills High Commander Winslow with the Marthas fully willing to cover it up, and Serena’s baffling Heel–Face Revolving Door all season is revealed to have all been a facade to get Fred onto Canadian soil where he can be arrested.
    • At the end of Season 4, June arranges a spectacularly fitting comeuppance for Fred, getting to experience the same fear she did as he's chased through the woods by a legion of women who've escaped from Gilead, who collectively beat him to death just as the law he himself helped create says.
  • Crosses the Line Twice:
    • Emily ending her joyride by backing into a soldier and leaving him injured in the street: disturbing if still cathartic. Her then running over his prone body again and causing his head to explode like a ripe melon to everyone's disgust: hilarious.
    • Serena having an agonizingly awkward brunch with June where she brings over several other handmaids in a hideously misguided attempt to cheer June up. The absolute crowning moment is when Serena asks "So what do you talk about on your little walks?", not realizing that June's walking partner, Lillie, has had her tongue cut out.
    • Joseph Lawrence toes the edge for much of his screen time, finally leaping over as he seems to be delivering Emily to be executed while rocking out to "Walking on Broken Glass".
    • Eleanor comes across Mrs. Putnam, and can't stop bringing up Janine almost killing their baby in the most tactless way possible, including cheerfully saying right to the baby "We thought you were going to die!"
  • Designated Hero: June in season 3. Killing Commander Winslow and helping children escape Gilead was awesome, but otherwise she did very little despite being heralded by many as a major inspiration.
  • Draco in Leather Pants: Season 3 and Season 4 began to show a darker development in June's character, as her time in Gilead is not only making her more cynical, but also more ruthless. While in some cases it was either pragmatic (letting Mrs. Lawrence die to ensure she wouldn't tell anyone about the escape plan) or justifiable (letting Esther butcher one of her rapists), the show has also shown that sometimes June has simply become cold-blooded and at times even a bit insane. This was especially evident in Season 4, in which June forces herself on Luke despite his protests—an act that in-episode has her compared to Serena for her willingness to hurt others. Despite this, many fans choose to ignore these low points in favor of depicting June as an all-around golden hero.
  • Ensemble Dark Horse:
    • Moira, Emily, and Janine are all very well-loved by the fandom. Especially impressive in Janine's case, since her original book incarnation wasn't very popular at all.
    • Joseph Lawrence very quickly got a lot of attention, with Bradley Whitford's fascinatingly weird performance heralded as being a welcome breakout from the show's usual one-note male characters, and providing a great person for Emily to bounce off of as the question grows of just whose side he's really on.
  • Hilarious in Hindsight:
    • By Season 3 Zoey Bartlett and Josh Lyman are more or less leading a rebellion against a Fascist regime, which probably has a lot of people saying “That seems about right.”
    • Margaret Atwood kind of threw the show under the bus with her sequel The Testament, revealing that Aunt Lydia is actually a Magnificent Bastard who's working a very long game to bring down Gilead from inside and in the meantime is making things as good for women as possible, long after this became impossible to reconcile with the show's portrayal despite Hulu planning on also doing a series based on it.
  • Like You Would Really Do It: Season 4 spends several episodes trying to build suspense about whether Janine was killed in the bombing of Chicago, while many fans never bought that such a major character would just be randomly Killed Offscreen.
  • Love to Hate: Aunt Lydia is despicable, but absolutely owns every scene she's in. While it was satisfying to see Emily attack her at the end of season 2 it's hard not to be glad that she's back in season 3.
  • Memetic Loser: Despite never actually appearing onscreen, Commander Glen has spectacularly bad luck with his Handmaids: the first Ofglen is a resistance fighter and the second blows up the government.
  • Misaimed Marketing:
    • Of the downright bizarre variety: as Season 2 ended, Lot 18 introduced three wine brands named after characters from the show. Even worse, the names used for June and Emily's brands are Offred and Ofglen rather than their real names, just like if some tie-in product for Roots (2016) used the name "Toby." There was such a massive backlash that the line was cancelled literally one day later.
    • One company tried to market "sexy" Halloween costumes of the handmaid's robes. Note that the whole basis of the show is that the handmaids are treated as walking incubators ritually raped to be impregnated.
  • Moral Event Horizon:
    • Anyone responsible for creating, upholding (willingly) partaking in the Handmaid system. Made even worse by the revelation that there's probably no point in the Ceremony anyway - it's an Open Secret that most of the Commanders are sterile and what is needed is bringing another man onboard. The younger wives might not even be infertile, just simply hadn't conceived with their infertile partners. So, the Handmaids end up being pimped to other men anyway, and the monthly rapes serve no other purpose than to protect some sterile men ego.
    • Commander Waterford and Serena Joy crossed it, if not by participating in the uprising with Gilead, then through their brutal rape of June in "The Last Ceremony" under the guise of inducing labor.
  • Narm:
    • Season 2 features several jarring close-ups of signs for Boston locations, giving the impression that for some reason the crew suddenly lost all confidence in our ability to believe the Canada-filmed show is set there, and are now on their hands and knees begging for it.
    • Also in Season 2, June's grunting in "Holly" when she is in labor. On the one hand, it is a powerful moment where she can hold her baby and not have it undergo the ritual of Birth Day, and a serious one, but Elisabeth Moss's grunting sounds more like she's trying to imitate a caveman than a woman in labor.
    • The steadily increasing number of scenes contrived around having a close-up of June giving a Death Glare directly to the camera.
    • "Household" features several shots where June, and even Fred once, appear to be wearing the giant angel wing sculpture behind them. The shots are clearly set up to make this effect, but to no apparent purpose, and it just comes off like the director really loved a similar shot in the final episode of Game of Thrones and wanted to copy it somehow even if there was no reason for it.
    • "Under His Eye" has June use Mrs. Lawrence to try and smuggle her into Hannah's school and escape Gilead... somehow. Mrs. Lawrence suffers from some early form of dementia or bipolar disorder. Cut to her arguing with one of the guards "I want to see the children! I want to see the children!" over and over again while June realizes she just drafted a deranged woman into helping her half-baked scheme. You would feel sorry for Mrs. Lawrence if June's plan didn't come off as comically stupid.
    • Ofmatthew's circle of punishment, where apparently having people point at you and shout "Crybaby!" like it's second grade is on par with the worst tortures Gilead has come up with.
    • Ofmatthew's later rampage is nothing short of horrifying, but just before she starts beating Janine, she makes a very odd, strange growl clearly held for the camera.
    • The absurdly on-the-nose Christ imagery for June in the final scene of Season 3, complete with her narrating a quote from him.
  • Narm Charm: The slow-motion walk of Offred and the other Handmaids at the end of "Nolite Te Bastardes Carborundorum" as Offred internally declares, "We are handmaids". Self-affirming while also cheesy.
  • Nightmare Retardant: In "Household", once you get over the shock of learning that all Handmaids and Marthas in Washington DC have their mouths (apparently permanently) stapled shut, it quickly becomes incredibly daft. How are they able to eat and drink? What happens if they get sick and their breathing is impaired, or they start vomiting? Why would the Commanders run the risk of Handmaids getting infections from the mouth-piercings, or developing problems with their teeth, especially since these are the few women in Gilead who are still fertile? If they want to silence women, why don't they just cut their tongues out, as we've seen earlier in the show?
  • One-Scene Wonder:
    • Marisa Tomei as Mrs. O'Conner, a Wife who was sent to the Colonies for having an affair and strikes up an unlikely friendship with Emily, at least until it turns out Emily was actually setting her up for a long, painful death.
    • Oprah Winfrey, possibly playing herself, appears on a radio broadcast from the real America assuring the world it still exists and is fighting back, making June newly energized to fight herself.
    • Canada's Associate Minister of Immigration stood out for blatantly informing the Waterfords he was gay and showing them how the Canadians really felt about Gilead.
    • The Faux Affably Evil interrogator in "The Crossing," who in just one episode sketches a fully developed character who truly believes in Gilead's cause and thinks of himself as being as nice as possible.
  • Ron the Death Eater: Nick and Luke are both subject to this treatment among those who ship them with June, especially after Season 4, in which June reunites with Luke at last but still obviously carries a torch for Nick. Nick is at times treated as someone as evil and powerful as Fred, especially for his former affiliation with the Sons of Jacob—this is despite him being an undercover insurgent since the first season, and a member of Mayday. While he's certainly not as much of a victim of Gilead as June, Nick is still very much under the threat of death at any time, and just like June was forced to conceive Holly under Serena's threat. Luke meanwhile is often portrayed as uncaring and unable to accept that June has changed in Gilead, when one of their subplots in Season 4 is that June isn't communicating to him properly enough to support her. Many claim that he's also too possessive of Holly and needs to "back off", as he's not her true father—not only ignoring that he's been selflessly raising her with Moira, but also ignoring that even if Nick is an ally, Luke does not have much reason to trust him in light of being one of Fred's right-hand-men.
  • Seasonal Rot: Season 3 was a bit of a let down for many fans, due to some potentially interesting story lines being forgotten or wrapped up in a very unsatisfying way. There was also a lot of “Gilead is a horrible place” story lines that have already been done thoroughly in seasons one and two, a general lack of any direction,note  and viewer backlash to the rumour that Hulu hopes to keep the series going for at least ten seasons. Many feel that this is a story that can't possibly be stretched out for that long, has run its course and needs to start wrapping up.
  • Ship-to-Ship Combat: The war between Nick x June shippers and Luke x June shippers has been growing steadily since the first season, but reached its fever pitch in Season 4, when June finally makes it out of Gilead and reunites with Luke. Both sides can get into furious debates on who June should be with: the man who gave her some solace in Gilead, or her husband who has been fighting to get her back. Nick and Luke have both suffered heavily from Ron the Death Eater treatment from both sides. Certainly not helping matters is that Nick x June is already a base-breaking matter as-is, and that, alongside June obviously still holding feelings for Nick after reuniting with Luke, only adds more fuel to the fandom-consuming fire. Both sides can get into incredibly vitriolic fights about which ship is more "problematic" than the other: Nick and June's being one that began with a forced rape and developing into solace in one another, and Luke and June's being a marriage very obviously crumbling and no longer healthy for either of them.
  • She Really Can Act: Even die hard Gilmore Girls fans have been critical of Alexis Bledel's portrayal of Rory Gilmore and her acting in general. Her performance as Emily in The Handmaid's Tale however has been universally praised.
  • Some Anvils Need to Be Dropped:
    • When oppressors like Aunt Lydia, Serena Joy, and even Commander Waterford show semblance of empathy or kindness, it's hollow in the long-run.
    • The consequences of misogyny owe a lot to men and the Female Misogynists that perpetuate it. Women who participate in the men's world of oppression, like Aunt Lydia and Serena Joy, end up hurting themselves along with the women who didn't participate in the oppression in the first place.
    • Patriarchy and fundamentalist extremism hurt men as well. As we see with the man who tries to help June escape, male life is pretty cheap and slight infractions of the rules seem to be punishable by mutilation, shooting or hanging. In addition to this, they create thorny power imbalances. Even if Fred Waterford is unhappy with his lot, he still has the power to exploit Offred and faces less repercussion for his actions. Also, no matter how much Nick is hurt by Gilead and might be a good guy, Offred calls him out on his obliviousness towards his power as an Eye, thus why it's depicted as hollow when he reveals his full name to Offred because at least he's allowed to keep a significant part of his identity, unlike a handmaid.
    • Tyranny doesn't happen all at once. It happens by those in power introducing small changes that people accept as normal until it's too late, or slowly boiling the proverbial frog.
    • No one has to fit a narrow definition of the perfect survivor or victim. This is demonstrated best by how beaten Janine, Emily, Lillie, and Moira are broken by their experience and have their own way of coping. It gets heavily emphasized by June's complete surrender to her Offred identity.
    • Even if many of the Wives don't agree with the more extremist aspects of Gilead and they're lower on the caste system than Commanders, their "moderate" visions of Gilead are still dangerous ingredients.
    • One act of contrition from Serena (done for selfish reasons) will not erase her part in creating a totalitarian theocracy that degrades and destroys half of its citizens.
  • Special Effect Failure: In the Season 3 premiere, it's hilariously obvious that Emily is carrying a doll when she emerges from the river into Canada.
  • Squick:
    • Some of what the Commanders partake in can enter this territory, like when we see a fellow in an elevator, licking a Handmaid's hand stump. Rule 34, indeed.
    • Season 2 actually lets us see the much talked about Colonies, where prisoners are subjected to dangerous radiation levels. This includes a closeup of a woman tearing off her diseased fingernail.
    • June blindly searches a medical bin for a scalpel, and first gets a needle shoved hard into her fingertip. We're treated to a close-up shot of her pulling it out.
  • They Wasted a Perfectly Good Plot: Several of them
    • Moira: in the book, Moira completely breaks and embraces the hedonistic life at Jezabels and rather than adapt this to give an exploration of this aspect of Gilead, the show has Moira 100% defiant, escaping after only a couple of episodes and ending up in Canada.
    • Ofglen II: the idea of someone with a horrible life finding being a Handmaid an upgrade could have led to some major storyline fodder, especially with her and Offred. The plot doesn't get followed up on and the character rendered mute/killed off in season two.
    • Ofglen I for that matter: she's promptly caught at the end of the second episode then caught again two episodes later. We never see the extent of her ties to Mayday or her killing a Guardian at a Salvaging that may have been a double agent for Mayday. Nor her suicide as she decides to take her life than risk being captured by the Eyes.
    • The post-racial society aspect of Gilead also doesn't get explored on the show, as the producers opted to purge the racist element of Gilead to address the novel's "plot hole" of viable, fertile women of color being shunned by a dictatorship born off of the desire to increase the rate of births. Although it's debatable whether or not the purged racial elements were a plot hole from the books or just a realistic case of Evil Is Petty.
    • Similarly, there are no vocally non-religious characters in the show. In spite of the show taking place in a religiously-derived dystopia, no one seems to suggest that maybe religion itself is the problem. The tenets of Gilead are indeed derived from lines of the Bible, and no one seems to suggest that maybe disregarding the whole thing might be a good idea. Instead, the heroes seem to all be cut from the cloth of more mild religion. A major example is June sympathetically baptizing her child in the Catholic Church, which in the real world has been implicated in routine systemic child abuse, much like Gilead in the show. It represents another failure of representation on the show.
    • June's rescued Marthas in Season 3. One of the most gut-wrenching scenes in the premier was her having to choose 5 women out of hundreds to live and be part of the Resistance. She picks five that would make a bang-up resistance cell on their own. And we are never introduced to four of them in subsequent episodes... (one eventually resurfaces to provide June with some valuable plot armor after her actions at Jezebel's)
  • Too Bleak, Stopped Caring: The story takes place in a dystopian nation where women are forced into sexual slavery, treated like inanimate objects, and routinely tortured if not outright killed for stepping out of line—all while so many people just let it happen if they're not the ones doing it. The show is unrelenting in just how cruel Gilead can be, with June and other characters suffering at least one new horror in each episode. Any time a Hope Spot comes, it is quickly and brutally extinguished. Despite the series showing the efforts of places like Canada to save those in Gilead and the growing rebellion of the Handmaids, it can be extremely difficult to stomach, and even after three seasons, things have hardly improved.
  • Unintentionally Unsympathetic:
    • For all of the show's efforts to make Serena sympathetic, some fans still find her irredeemable. The fact that she seems to be a Heel–Face Revolving Door and tends to quickly forget any lesson she's learned about Gilead or her husband, doesn't help.
    • June herself, for her Plot Armor that allows her to live while several other characters die because of her, to the point where it's lampshaded in a season three episode, "Heroic." As one character states, "everyone who helps her ends up on The Wall." It doesn't help that June is confirmed to live according to showrunner Bruce Miller.
  • What an Idiot!:
    • It took Serena over two seasons to realize and shake off her denial about how Gilead is hell for even the high class and/or religious women and how her cheating, abusive, misogynistic husband is not on her or "their" daughter's side when the systematic oppression kicks in. When she did, fans started to think that maybe there's hope for her... but alas, she goes back to Fred (out of pragmatism at first, but he gets back into her good graces pretty quickly) and, worse, start cooperating with him to bring Nichole back to the aforementioned No Woman's Land.
    • Yes, Fred, you totally can trust this not-necessarily-sympathetic foreign agent leading you down an isolated, heavily wooded road near an international border. In his defense, this was after months of Serena establishing a deep trust with him so he'd follow her.
  • Win Back the Crowd: Season 4 got easily the show's best reviews since the first season, with an exponential increase in the story's forward momentum after the previous two mostly just ran around in circles.
  • Why Would Anyone Take Him Back?:
    • Again, Serena. She has a constant reminder of what her husband is in the form of her mutilated finger... and still it seems like it takes a Dance of Romance for her to become googly-eyed about him.
    • Spelled out in-universe, when Mark Tuello is baffled why Serena would consider living with Fred as husband and wife after they're freed.
  • The Woobie: Being a Handmaid or a Jezebel in Gilead is a guarantee to make it into this category. Being a Martha or an Econo person is only marginally better: you won't get raped, but your life is worthless to the authorities.


How well does it match the trope?

Example of:


Media sources: