SPOILER ALERT: Do not read if you have not yet watched “Mayday,” the third season finale of “The Handmaid’s Tale.” There has long-been a school of thought that in orde…
Do not read if you have not yet watched “Mayday,” the third season finale of “The Handmaid’s Tale.”
In a way, though, that opening flashback of June in a sea of other scared faces being forced into a new world also served as one of the bookends for the episode, juxtaposing the young girls’ concerned faces as June helped round them up and get them on a plane to Canada. “I wanted to do it was that our reaction would be June’s reaction: She’s just as horrified as we are,” he says. “That was much more what the scene was about: It was much more a character pivot moment than it was an episode pivot moment because in the end she lets Maggie go, Maggie gets caught, and they almost all get caught because of that. It was a big mistake, and she learns from that mistake and that’s why she can put the bullet in the head of the guy with the radio.
What did take a long time for Miller and his writers’ room to work out was how to craft the scene where the plane touches down, the doors open, and the kids and Rita come out, interacting with characters who got out sooner, such as Moira , Luke and Emily . This is especially hard for Luke, who Miller says “feels guilty in a way that will never be assuaged, no matter what happens.” This season he had some more contact with his wife than in past years, but that made it harder for him to move beyond feelings “like he left his wife and daughter behind and didn’t look hard enough for them.”
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