Daniel D'Addario Chief TV Critic Deep into its run, “The Handmaid’s Tale” has found itself — or a version of itself, at once leaner and stranger — again.
In the past, I’ve written that this show, which boasts a strong ensemble cast supporting probably the most agile performer on television, has been frustratingly unable to emerge from the potency of its set-up.
Season after season was spent re-litigating the harms done to Elisabeth Moss’ June, all while reducing her from a recognizable human into a character history.
The show made the point that June had been altered by trauma too well. Now, though, June feels liberated; in the wake of Season 4’s conclusion, in which our heroine led a mob killing of her tormentor (Joseph Fiennes), Moss’ performance feels opened up, and so does the series’ creative universe.
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