The Handmaid's Tale

When a hot dinner, a cold bottle, and an ironed shirt cease to be a daily staple because the baby's cries and used diapers begin to dwindle suspiciously, it is necessary to reach for the time-tested collection of the Old Testament and gut out a few apocrypha that did not bend so efficiently even in the days of the Inquisition. I don't fully understand the criticism that is being leveled at it, especially from the right. The female quintet behind the camera is very down-to-earth and sensitive. In fact, the social apocalypse is an almost intimate affair, with events happening in passing and the viewer praying to see more, but fearing that on a more global scale, it will fall apart. From my perspective, though, it takes the incredible internal dynamic from the fact that no other dystopia I can remember has gone so much to the root of the hypocrisy that automatically accompanies all totalitarian systems. It bubbles under the surface perfectly, but Jezebel’s visit definitely pushes it to a genre event that imagines the apocalypse without nuclear fallout. (20.11.2017)

Originally, I looked forward to this series a lot. But somewhere around the middle of the series I started reading through the reviews at this side and wondered whether it would go in a slightly different direction. In the end, book-wise, I was surprised by one reader’s opinion, who compared the book this series is based on to a feminist version of the 1984. The writer actually wrote The Handmaid’s Tale in the year 1985. And it probably fits. Ever since the beginning, it is clear that there will be mostly heroines in the story, rather than heroes, which I didn’t mind. On the contrary, it strengthened the fact that Americans currently prefer heroines to heroes, which is very good and a nice change. I also really liked the way this series was filmed. You can see that the creators put a lot of work into it. For example, the cameraman is in his peak form. Some shots are flawless and as soon as some murder appears in the scene, count on it being a brutal shock for you. What is worse is how the creators are stretching the series. The first season is just about for four stars. But God knows in which direction the second season will go. It could be a lot more action-packed, but if it continues in a similar vein, I don’t know if I will be able to manage the utterly apathetic appearance of the main character, who is played by Elisabeth Moss. And make no mistake. She plays her amazingly. But the apathy she portrays is so unbelievable in the context of that world that if I were her, I would much rather put a bullet through my head than try to keep myself alive. You will not experience such a harsh approach to women as in the Republic of Gilead. Almost absurdly brutal. (11.07.2017)

A very depressing spectacle and the most sick totalitarianism since Hitler, a truly twisted fundamentalist regime. The story of life in a dystopian Gilead in the United States, where women have become sex slaves whose sole purpose is to procreate. While the series has a slower pace, it still holds the viewer's attention well, as this regime has a lot to offer and the gradual discovery and exploration is engaging enough. The main character is excellent and so is the rest (you'll hate Aunt Lydia). There is a lot of sex and there is room for violence (lots of hangings, cruel punishments), and there are some interesting surprises throughout. Emotional, psychological, sexual and very chilling. 80%. (16.09.2018)

From the expected intensively experienced relationship, two hesitant dates emerged. Mutual getting to know each other ended with the realization that I am putting the series on hold, or rather into the drawer of works worth watching until I break both legs and more attractive and interesting titles come along. What stood between me and The Handmaid's Tale wasn't the director or the actors, but Margaret Atwood herself. Her world of a totalitarian society, in my opinion, is built on foundations that are too shaky, I didn't believe in its existence, and therefore nothing motivated me, despite its undeniable screenwriting and other qualities, to immerse myself in it. In my opinion, the crisis would develop and the regime resulting from it would have completely different parameters. Alternative history and projecting the near or distant future make sense, but these things should adhere to logic. Three stars express the qualities of the project's craftsmanship, and this time I will also forgo a percentage rating. (20.01.2019)

An interesting vision of a dystopic society where fertile women change into incubators for the leading classes. Great work with information dosage is supported by excellent acting performances. Moss is convincing as the smart woman plunged into a nightmare and the white bonnet suits her. Atwood invented an intelligent and functional world with characters who grab the attention and the first season ends in perfect synchronization, exactly at the moment when the story and the leading lady enter a new phase that leaves behind what we know so far in a cloud of dust. No futuristic technological gadgets, just a couple of words about solar energy and smarter utilization of the human workforce. I look forward to seeing that world – it’s almost chillingly contemporary. (01.10.2017)

After the first season, I was basically satisfied. The theme was great, I enjoyed the story, and I was looking forward to the next season. Imagine my disappointment after that. Season 2 very quickly ruined everything I liked about the show and focused mostly on emotional blackmail and constant close-ups of Offred's face, which was torture. The development of the characters got stuck in a loop (the personality traits of the characters lacked any kind of nuance). Logic, atmosphere and pace of the story went AWOL, and after Season 2, I’m going to follow suit. (03.10.2018)