Under the Eye: “The Bridge”

“The Bridge”

It’s nice that we have these little rituals, isn’t it? All the handmaids gather outside another palatial, stolen home. We have a prisoner–sorry–baby exchange between Janine (“Ofwarren”) for our little role-play, and the thieves of her baby, a Commander and his wife (not worthy of names in my book) and it becomes apparent the handmaids are to be regarded as nothing more than objects, to be dispensed with when their jobs are finished. Ofwarren, now Ofdaniel, is on her merry way to a new home … to be raped. As they depart, June tells her traveling companion she wants to help with Mayday activities. Janine meets her new masters. You would think what with her lack of an eye, she’d be sent to Commanders on the low end of the pecking order, but the Sons of Jacob are willing to look past that for the sake of her fertility. On their way to Loaves & Fishes, another handmaid takes June aside and tells she has to ger ass back to Jezebels to grab a package. I guess if June wants to be in the Resistance, she’ll have to do some grunt work for the cause. She tells Fred she wants to go back to Jezebels. It’s amazing that he buys this. I thought Fred was one of Gilead’s chief architects. Either that, or it is the show’s central conceit that all of the men represented, regardless of their experience and education, are absolute, drooling morons. Perhaps the women of this world do have special, supernatural powers over men.

“Oh Ruby, don’t take your love to town.”

We go to Serena, quietly sewing by the fire. In the kitchen, she roots around for booze, I’m sure, but she covers when Rita enters. Serena was led to believe the Commander is in his office, but Rita lets slip that he left the house. Rita finds her the booze, but Serena doesn’t want to drink alone. So she caught up with her pal, Jack Daniels, and his partner, Jimmy Beam! Rita talks of her son who died during the war, but I’m not sure at this point what side he was on. Janine prepares for the Ceremony with her new masters. Janine is nervous, and I’m nervous for her. This scene plays more like rape than any of the other Ceremonies we’ve been treated to with Janine resisting and somehow convinced that her previous Commander will come for her. Fred makes it with June at Jezebels, all the while June has that package on her mind. Idiot Fred knows something’s up, so he arranges for an “encounter” with Moira/Ruby. His gay-dar is a little wonky so he leaves them alone to talk while he washes up. She argues with June about this cloak-and-dagger shit. Moira doesn’t want to do anything to endanger her life, seemingly unaware that her life is danger all the time in this place. June accuses her of already being dead, which she might as well be if she refuses to help. June is certainly learning how to manipulate people. When they arrive home, Fred gets caught by Serena, and by the look on her face, she knows damn well where he’s been.

“I wish you would step back from that ledge my friend.”

Early morning, amid flashes of happier times smoking cigarettes with Moira, at the beach with hubby and child, Serena wakes June up and takes her to the bridge of the title. Janine is holding the baby and threatening to jump into the water. How did she manage that? Guys with machine guns! Janine screams at her previous Commander about all the “freaky” sex stuff they did that his wife wouldn’t do. Out in the open air, this pretty much destroys the Commander’s reputation. June offers to talk her down off the ledge. She tells her, “Change is coming. There’s hope.” She tells her they’re gonna go out drinking one day. Janine asks if they can do karaoke. She gives the baby to June and then jumps off the bridge. She’s quickly fished out of the water, but I do wonder if she could survive the impact. Aunt Lydia keeps vigil by her bedside in the hospital and calls her a “stupid girl.” The Commander is brought up on charges because of Janine’s claims. Serena is humiliated when the Commander’s wife tells her everybody knows why the previous Offred killed herself. That’s all very well and good, but we don’t know why she killed herself. At least, we have our theories. At the supermarket, a butcher hands off the package to June, courtesy of Moira and her ridiculous note: “Praised be, bitch. Here’s your damn package.” At Jezebels, Moira/Ruby decides to grow a pair. She grabs a shiv she made out of plumbing parts, presumably kills her client, hops into a car and drives off. I seriously hope we never go back to Jezebels.

Under the Eye: “Jezebels”

“Jezebels”

So Nick, right? We’re on to Nick in our origin story round-up. In the before-time, in the long-long ago, Nick was an unemployed loser just lookin’ for a job, Son. He gets into a tangle at the local employment agency, Worthy Path Career Counseling (creepy name with religious connotations). He basically gets “witnessed” to by a Son of Jacob, who gives him a few pointers on discipline and responsibility. Where are we? Five years ago? Ten? This is when I began to suspect that Gilead was a Socialist construct. The man he talks to speaks about Capitalism with disdain. He speaks of a plan to set the Country right and clean up the mess. He tells Nick he’s not alone, and I wonder why Nick has to be a bad apple so that the Sons of Jacob could clean him up and set him on the “right path.” June finds Fred waiting for her in her bedroom. He tells her he’s going to take her out for a night on the town. He even shaves her legs. The leg-shaving scene is one of the creepiest things I’ve ever seen in any television show or movie, or anything. He asks her if she remembers how to put on makeup. It’s been three fucking years. He wraps her up in a slinky dress. Elisabeth Moss is a handsome woman, but she’s hardly glamorous. I wouldn’t even call her sexy, but it takes all kinds to make a world, I guess, and I still don’t understand Fred’s attraction to her, or Nick’s. Maybe I’m just being cruel, but if you’re gonna put her kisser up on my big-screen TV, I’m gonna judge her looks. Sorry.

This scene is in every John Hughes movie.

Commander Fred is a man made of desires and tastes. It isn’t enough that he has a devoted, beautiful wife in Serena, no. Her devotion is mandated by the State. She knows her place (she wrote a book about her place), even if it requires her silence, her masquerade of illiteracy, and her reptilian gaze. What Fred needs is a throbbing erection and a throbbing orifice in which to place that erection, and his needs are all that matter. He’s even willing to break the law to get what he wants, just as they all do. This is why we have Jezebels, a brothel at the edge of town, where all manner of depraved acts can be committed under a magic cloak of silence. First rule of Jezebels is you don’t talk about Jezebels – that sort of thing. In a flashback, Nick is a driver for the Elite of Gilead. He overhears talk of rounding up the fertile women to be impregnated. There is some argument about this, but as long as there is “scriptural precedent,” nobody has a problem with it. They also talk about making the wives part of the Ceremony (just as I thought, it’s all made up on the spot) so that they’ll shut up. “White Rabbit” plays rather inappropriately as June tours Jezebels in a strange Eyes Wide Shut-like tableau. “Somebody to Love” would’ve been a better choice, but I don’t think the producers listen to much Jefferson Airplane*. This is where the educated (or infertile yet attractive) women, the doctors, the lawyers, go when they aren’t shunted off to the dreaded Colonies. Isn’t this a nice place?

Jezebels! A fun, kinky place!

Jezebels is an enormous mistake for Atwood and the television series, because it puts all of Gilead’s cards on the table. This isn’t just keeping the women in their place. It is a sociopathic fear/lust of women. In a way, Gilead gives or acknowledges in women a supernatural power that must be vanquished or suppressed. Yet, in all this madness, June finds Moira, who did not escape. She’s now a whore named Ruby. What is this obsession with changing people’s names? It’s a little too intellectual a premise to rob someone of their identity. Nick uses his Eye credential to get information from a Martha working at Jezebels about a Commander who has bent the rules. It’s interesting he doesn’t use his knowledge of Fred to bring him down (unless he worries about hurting June in the process). Nick remembers the discovery of the previous Offred hanging from the ceiling in her bedroom. At Jezebels (which, I don’t know, it’s kind of a cute name, it sounds like a chain of restaurants or night clubs), Fred wants to have sex with June, like for real, not this ridiculous Ceremony. June slips out to find Moira. She hears sounds, sees images of violent and depraved sexuality. The women are brutalized, of course – what else is new? Do we expect any less of this show? Moira tells June she was rescued by Quakers (I don’t understand – do they have “Quaker” I.D. cards or something) but they were killed for harboring her. Moira was captured, given a choice: the Colonies or Jezebels. Wait a minute. They gave her a choice? Her spirit has been broken. She lives in fear now.

Max Minghella has but one expression, and you’re lookin’ at it.

We do learn a little more about the Eyes of Gilead. They’re a little less than snoops, and more like tattle-tales, put in place by the top brass to ensure loyalty from their Commanders. My guess is after ratting out so many high-ranking officials within Gilead, Nick was entrusted with the duties of an Eye. The photography of the show is stunning but the Kubrickian symmetry of the compositions is undermined by excessive use of tight depth-of-field shots in order to evoke an almost Pavlovian emotional response to the visual. As such, and because this practice is repeatedly used, there is no evolution in the cinematography. Same with the wardrobe (which I’ve heard dubbed, “Hyatt Regency” – all drab and lifeless, but for the bright, blood red of the handmaid cloak. The show is way too polished for the effect it is trying to achieve. June yells at Nick, because of her anger over the atrocity and hypocrisy of such a place as Jezebels, about how such a fiery and fierce lesbian as Moira can die on the inside because all she had in her heart was anger, and that really is all she had. I don’t know why Nick has to hear this. It’s not his fault, right? Or is it the fault of all men? Serena returns from wherever the hell she was and presents June with a gift: a music box with a dancing ballerina. We get more aggravating purple prose from June as she etches words into a wall. “You are not alone.” Cute.

* What happened to Jefferson Airplane? Is Gilead paying royalties to Jefferson Airplane for use of the song, or are royalties not considered part of the framework because it isn’t in the Bible? What happened to Grace Slick? At the age of 79, would she be considered a Martha? Or did she, you know, blow a pilot to get her safely away from Gilead when she saw the trouble coming down?