DOCSLIB.ORG

Episode Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Episode Guide Episode Guide Episodes 001–046 Last episode aired Wednesday June 16, 2021 www.hulu.com © © 2021 www.hulu.com © 2021 www. © 2021 © 2021 www.imdb.com geekgirlauthority.com the-handmaids-tale. wikia.com © 2021 tvline.com The summaries and recaps of all the The Handmaid’s Tale episodes were downloaded from http://www.imdb.com and http://www.hulu.com and http://www.geekgirlauthority.com and http://the-handmaids-tale.wikia.com and http://tvline.com and processed through a perl program to transform them in a LATEX file, for pretty printing. So, do not blame me for errors in the text ! This booklet was LATEXed on June 17, 2021 by footstep11 with create_eps_guide v0.68 Contents Season 1 1 1 Offred ..............................................3 2 Birth Day . .7 3 Late ............................................... 11 4 Nolite Te Bastardes Carborundorum . 15 5 Faithful . 19 6 A Woman’s Place . 23 7 The Other Side . 27 8 Jezebels . 31 9 The Bridge . 35 10 Night . 39 Season 2 43 1 June............................................... 45 2 Unwomen . 47 3 Baggage . 49 4 Other Women . 51 5 Seeds .............................................. 55 6 First Blood . 59 7 After............................................... 61 8 Women’s Work . 63 9 Smart Power . 65 10 The Last Ceremony . 69 11 Holly . 71 12 Postpartum . 75 13 TheWord ............................................ 77 Season 3 79 1 Night............................................... 81 2 Mary and Martha . 85 3 Watch Out . 87 4 God Bless the Child . 91 5 Unknown Caller . 95 6 Household . 99 7 Under His Eye . 103 8 Unfit............................................... 107 9 Heroic.............................................. 111 10 Bear Witness . 115 11 Liars . 119 12 Sacrifice . 123 13 Mayday . 125 The Handmaid’s Tale Episode Guide Season 4 129 1 Pigs ............................................... 131 2 Nightshade . 133 3 The Crossing . 137 4 Milk ............................................... 139 5 Chicago . 143 6 Vows............................................... 145 7 Home .............................................. 147 8 Testimony . 149 9 Progress . 151 10 The Wilderness . 155 Actor Appearances 159 II Season One The Handmaid’s Tale Episode Guide Offred Season 1 Episode Number: 1 Season Episode: 1 Originally aired: Wednesday April 26, 2017 Writer: Bruce Miller Director: Reed Morano Show Stars: Elisabeth Moss (Offred), Yvonne Strahovski (Serena Joy), Joseph Fi- ennes (The Commander), Alexis Bledel (Ofglen), O.T. Fagbenle (Luke), Max Minghella (Nick), Samira Wiley (Moira), Amanda Brugel (Rita), Jordana Blake (Hannah) Recurring Role: Madeline Brewer (Janine), Ann Dowd (Aunt Lydia), Bahia Watson (Oferic), Nina Kiri (Alma), Elena Khan (Martha) Guest Stars: Margaret Atwood (Aunt), Jenessa Grant (Ofsamuel), Shruti Kothari (Woman with Moira), Adam Winlove-Smith (Guardian Prisoner), Ja- son Boyd (I) (Guardian), Grace Munro (Red Centre Handmaid), Simon Northwood (Guardian 2), Anne Yorke (Aunt 3), Sylvia Zuk (Protestor) Summary: Offred, one the few fertile women known as Handmaids in the oppres- sive Republic of Gilead, struggles to survive as a reproductive surro- gate for a powerful Commander and his resentful wife. The episode opens on a woman, a man, and their little girl gunning it down a re- mote road in their car. Sirens are heard in the distance, it’s clear that they’re be- ing chased. Their car gets stuck in a ditch after losing control, so the man tells the woman to take the little girl and to run into the woods about two miles north, where someone will meet them. Before they get very far, there are three gun- shots back at the car. For a moment, the woman stands there, stunned, before she scoops up her daughter and continues to run. Nearby, men’s voices grow louder, so the woman and her daughter hide. The men have guns, and are mere steps away from their hiding place. They start running again and, sure enough, the gunmen catch up, wrench the little girl out of her mother’s arms as she pleads with them not to do so. Ugh, heartbreaking. Mom is knocked unconscious and dragged off screen, then loaded into the back of a van. In the background, we see their crashed car, but no sign of the man anywhere. In voice-over, the woman from the woods takes stock of her sunlit bedroom, dressed now in a red habit and white bonnet. The woman is a Handmaid whose name is Offred. She had another name, "but it’s forbidden now. Offred has a sit-down with, let’s call her Mrs. Green Dress who is clearly in charge of this house. Mrs. Green Dress (MGD) compares the last Handmaid she had to a "dog, only not a very smart one." Charming. MGD runs down the house rules for Offred, the first of which is "don’t call me ma’am. You’re not a Martha." Who are the Marthas and why do they have to call you ma’am? Commander Fred Waterford, MGD’S husband, enters. Offred greets him by saying, "Praise be to you. May God make me truly worthy." I’m from the South, so I’m used to a smattering of non- sequitur God references peppering conversations, but she said, "Praise be to YOU" — meaning the Commander. 3 The Handmaid’s Tale Episode Guide Anyway, MGD stares him down, with that look wives give when they’re warning their hus- bands not to flirt with that woman. He smartly heeds her silent warning, sheepishly startsto retreat out of the room with a "Nice to meet you." Successful first interaction over, right? Think again. Offred screws up by replying, "you too." Everyone immediately reacts as if she farted. Com- mander W leaves, but it’s too late because MGD is super annoyed by this point. Offred is to be seen as little as possible. She goes on to remind Offred that the Commander is HER husband, ’til death do they part. And then she throws in the fancy lady version of "don’t start none, won’t be none," which is, "If I get trouble, believe me, I will give trouble back." Close-up on Offred’s clenched fist after MGD leaves the room. I think Offred might start none, y’all. And asaresult, there might be none. We then meet Rita, who is "a Martha," making bread from scratch. Marthas have to do things that are considered "a return to traditional values," code for keeping yet another group of women deemed worthless trapped in the kitchen all day making a bunch of bleeping bread for MGDs and Commanders. Rita’s annoyed at Offred’s very existence. She sends Offred to the market to shop for groceries, which she’s forced to do with her "friend," fellow Handmaid, Ofglen. Offred mentally derides Ofglen as a "pious little shit with a broomstick up her ass." Can’t wait to meet her, she sounds lovely. As Offred leaves the Waterford property, she encounters Nick, the Commander’s driver, who’s hauling dirt in a wheelbarrow and who looks very fine doing so. They have a brief conversation about what she’s going to buy and it’s subversively flirty, more on his part than hers. Ofglen and Offred head to the store, discussing nothing, yet speaking volumes. They distrust each other and suspect the other is a spy. After shopping, they walk home, passing a wall where three men are hung: a priest, a doctor, and a gay man, further informing us about the kind of America this has become. Offred flashes back to her first day at Handmaid indoctrination class. A stern, militant woman in a potato sack style brown dress, explains God’s revenge on them for being toxic polluters and whores: the plague of infertility. She rails against birth control pills, morning after pills, abortion, and even Tinder. Yikes. As Offred takes a seat, she spots Moira, and flashes back to life before all this insanity. They’re at some sort of outdoor party. We find out, a) they’re old friends and, b) Moira is a lesbian. Potato Sack Lady lectures about how they’re blessed because they’ve been "left intact" by God, meaning they can have children. Their job will be to serve as baby-makers for the leaders of this hell on earth and their barren wives. It’s abundantly clear that Potato Sack Lady really and truly believes they’re lucky to have this gig. Easy for her to say: she’s beyond child-bearing age. Janine, another Handmaid newbie next to Offred, is just not buying any of this garbage. Fed up with her attitude, Potato Sack Lady welcomes Janine to the "Rachel and Leah Centre" (biblical references), by shocking her in the neck with a cattle prod and the symbolism is overt. Two other Potato Sack Ladies drag Janine out of the room. Potato Sack Lady continues to lecture, "Ordinary is just what you’re used to. This may not seem ordinary to you right now. But after a time, it will. This will become ordinary." At bedtime, in a giant cafeteria full of cots, Offred explains to Moira that she tried to escape with her daughter but couldn’t. Moira swears that she will find Offred’s daughter and that all this "crazy sh*t is gonna end." I love Moira for that. Moira goes on to tell Offred that her girlfriend, Odette, was rounded up in a purge, reclassified as an "Unwoman," and sent to the colonies. I thought Handmaids had it bad. Unwomen have it worse. Now we know that if they find out Moira is a lesbian, she’ll be reclassified as anUnwoman. Janine is dragged in and put on a cot, with a bandage around her head, whimpering. Come to find out, they removed her right eye because, "If my right eye offends thee, pluck it out."(Matthew 5:29). Nothing justifies violence like a bible quote.
Load more
Loading...
Loading...
Loading...
Loading...
Loading...

165 pages remaining, click to load more.

Recommended publications
  • Half a Century with the Swedish Film Institute
    Swedish #2 2013 • A magazine from the Swedish Film Institute Film 50Half a century with the Swedish Film Institute CDirector Lisah Langsethe exploresc identityk issuesi nin Hotel g in www.sfi.se scp reklambyrå Photo: Simon Bordier Repro: F&B Repro: Factory. Bordier Simon Photo: reklambyrå scp One million reasons to join us in Göteborg. DRAGON AWARD BEST NORDIC FILM OF ONE MILLION SEK IS ONE OF THE LARGEST FILM AWARD PRIZES IN THE WORLD. GÖTEBORG INTERNATIONAL FILM FESTIVAL IS ALSO THE MAIN INDUSTRY WINDOW FOR NEW NORDIC FILM AND TALENT, FEATURING NORDIC FILM MARKET AND NORDIC FILM LAB. 1,000 SCREENINGS • 500 FILMS • 23 VENUES • 160,000 VISITS • WWW.GIFF.SE WELCOME Director, International Department Pia Lundberg Fifty and counting Phone +46 70 692 79 80 pia.lundberg@sfi.se 2013 marks the Swedish Film Institute’s various points in time. The films we support 50th anniversary. This gives us cause to look today are gradually added to history, giving back to 1963 and reflect on how society and that history a deeper understanding of the Festivals, features the world at large have changed since then. world we currently live in. Gunnar Almér Phone +46 70 640 46 56 Europe is in crisis, and in many quarters gunnar.almer@sfi.se arts funding is being cut to balance national IN THIS CONTEXT, international film festivals budgets. At the same time, film has a more have an important part to play. It is here that important role to play than ever before, we can learn both from and about each other.
    [Show full text]
  • PIRATI DEI CARAIBI Ai Confini Del Mondo (Pirates of the Caribbean: at World’S End)
    WALT DISNEY PICTURES Presenta In associazione con JERRY BRUCKHEIMER FILMS PIRATI DEI CARAIBI Ai Confini Del Mondo (Pirates Of The Caribbean: At World’s End) Regia GORE VERBINSKI JOHNNY DEPP ORLANDO BLOOM KEIRA KNIGHTLEY STELLAN SKARSGǺRD BILL NIGHY con CHOW YUN-FAT e GEOFFREY RUSH JACK DAVENPORT, KEVIN R. MCNALLY, NAOMIE HARRIS, TOM HOLLANDER e JONATHAN PRYCE LEE ARENBERG, MACKENZIE CROOK, DAVID BAILIE, MARTIN KLEBBA Distribuito da BUENA VISTA INTERNATIONAL Data di uscita: 23 maggio 2007 Durata: 2 ore e 49 minuti PIRATI DEI CARAIBI Ai Confini Del Mondo Regia GORE VERBINSKI Sceneggiatura TED ELLIOTT & TERRY ROSSIO Tratto Dai Personaggi Creati Da TED ELLIOTT & TERRY ROSSIO e STUART BEATTIE e JAY WOLPERT Tratto Da ”LA MALEDIZIONE DELLA PRIMA LUNA” della Walt Disney Prodotto Da JERRY BRUCKHEIMER Produttori Esecutivi MIKE STENSON CHAD OMAN BRUCE HENDRICKS ERIC MCLEOD Direttore Della Fotografia DARIUSZ WOLSKI, ASC Scenografie RICK HEINRICHS Montaggio CRAIG WOOD STEPHEN RIVKIN, A.C.E. Costumi PENNY ROSE Supervisione Effetti Visivi JOHN KNOLL CHARLES GIBSON Musiche HANS ZIMMER Supervisione Musiche BOB BADAMI Casting DENISE CHAMIAN, CSA Casting Uk PRISCILLA JOHN, CDG Unit Production Manager ERIC MCLEOD Unit Production Manager DOUGLAS C. MERRIFIELD First Assistant Director DAVID H. VENGHAUS, JR. Second Assistant Director AMY J. SCHMIDT Associate Producer PAT SANDSTON ILM Animation Supervisor HAL HICKEL ILM Visual Effects Producer JILL BROOKS Additional Editing by DAN HANLEY Score Co-Produced by MELISSA MUIK Special Appearance by KEITH RICHARDS CAST Jack Sparrow JOHNNY DEPP Barbossa GEOFFREY RUSH Will Turner ORLANDO BLOOM Elizabeth Swann KEIRA KNIGHTLEY Norrington JACK DAVENPORT Davy Jones BILL NIGHY Governor Weatherby Swann JONATHAN PRYCE Pintel LEE ARENBERG Ragetti MACKENZIE CROOK Gibbs KEVIN R.
    [Show full text]
  • Period Film and the Mannerist Moment
    King’s Research Portal DOI: 10.26530/OAPEN_426536 Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Vidal, B. (2012). Figuring the Past: Period Film and the Mannerist Aesthetic. (Film Culture in Transition). Amsterdam University Press. https://doi.org/10.26530/OAPEN_426536 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact librarypure@kcl.ac.uk providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Amrik Singh Ph.D Thesis.Pdf
    Certificate by Adviser This is to certify that the thesis entitled “Exploring the Selected Novels of Khushwant Singh, Chaman Nahal and Bapsi Sidhwa in the Light of Sigmund Freud’s Theory of Nachträglichkeit ‘Deferred Action’” submitted to the Department of English, Lovely Professional University, Phagwara in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy in English is a record of original and independent research work conducted by Amrik Singh (41400094) under my supervision and guidance. The thesis has not formed the basis for the award of any degree/diploma/associateship/fellowship or another similar title to any candidate by any university/institute. The candidate has pursued the prescribed coursework of research, and he has incorporated all the suggestions given by the Departmental Doctoral Board of the university during his annual presentations and pre-submission seminar held on 7 April 2018. Place: Phagwara Adviser Date: 21 May 2018 Dr. Ajoy Batta Associate Professor and Head Department of English School of Arts and Languages Lovely Professional University Phagwara-144411 (Punjab) i Declaration I do hereby acknowledge that: 1. The thesis entitled “Exploring the Selected Novels of Khushwant Singh, Chaman Nahal and Bapsi Sidhwa in the Light of Sigmund Freud’s Theory of Nachträglichkeit ‘Deferred Action’” is a presentation of my original work completed under the kind guidance of my adviser Dr. Ajoy Batta. Every effort has been made to incorporate the opportune suggestions provided by the Departmental Doctoral Board of Lovely Professional University, Phagwara. 2. The thesis is free from any plagiaristic material, and it doesn’t transgress the rights of other researchers and authors.
    [Show full text]
  • Table of Contents
    TABLE OF CONTENTS Introduction 2-38 1. Obscene ecstasy: Interactions between seeing men and blind women in The Architect, The Blind Eye, Transplanted and Miranda 39-87 2. Looking (im)properly: Women objectifying men’s bodies in Last of the Sane Days, Miranda and The Architect 88-137 3. Different ways of seeing and knowing? Psychic abilities and homeopathy in The Blind Eye and The Architect 138-170 4. Happily (n)ever after: The (im)possibilities of equitable heterosexuality in The Blind Eye, Last of the Sane Days, Transplanted and Machines for Feeling 171-210 5. How to survive (without) a shipwreck: Explorations of feminism, postmodernism and the perception/construction of men’s bodies in Miranda 211-248 Conclusion 249-260 Works Cited 261-286 1 Introduction How to praise a man? She cannot vow His lips are red, his brow is snow, Nor celebrate a smooth white breast While gazing on his hairy chest; And though a well-turned leg might please, More often he has knobbly knees; His hair excites no rapt attention – If there’s enough of it to mention. She cannot praise his damask skin, Still less the suit he’s wrapped it in; And even if he’s like Apollo To gaze upon, it does not follow That she may specify the features That mark him off from other creatures. No rime can hymn her great occasion But by a process of evasion; And so she gives the problem over, Describes her love, but not her lover, Despairs of words to tell us that Her heart sings his magnificat.
    [Show full text]
  • Period Film and the Mannerist Aesthetic
    King’s Research Portal DOI: 10.26530/OAPEN_426536 Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Vidal, B. (2012). Figuring the Past: Period Film and the Mannerist Aesthetic. (Film Culture in Transition). Amsterdam University Press. https://doi.org/10.26530/OAPEN_426536 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact librarypure@kcl.ac.uk providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Contemporary Nordic Literature and Spatiality
    GEOCRITICISM AND SPATIAL LITERARY STUDIES Contemporary Nordic Literature and Spatiality Edited by Kristina Malmio Kaisa Kurikka Geocriticism and Spatial Literary Studies Series Editor Robert T. Tally Jr. Texas State University San Marcos, TX, USA Geocriticism and Spatial Literary Studies is a new book series focusing on the dynamic relations among space, place, and literature. The spatial turn in the humanities and social sciences has occasioned an explosion of inno- vative, multidisciplinary scholarship in recent years, and geocriticism, broadly conceived, has been among the more promising developments in spatially oriented literary studies. Whether focused on literary geography, cartography, geopoetics, or the spatial humanities more generally, geo- critical approaches enable readers to reflect upon the representation of space and place, both in imaginary universes and in those zones where fiction meets reality. Titles in the series include both monographs and col- lections of essays devoted to literary criticism, theory, and history, often in association with other arts and sciences. Drawing on diverse critical and theoretical traditions, books in the Geocriticism and Spatial Literary Studies series disclose, analyze, and explore the significance of space, place, and mapping in literature and in the world. More information about this series at http://www.palgrave.com/gp/series/15002 Kristina Malmio • Kaisa Kurikka Editors Contemporary Nordic Literature and Spatiality Editors Kristina Malmio Kaisa Kurikka University of Helsinki University of Turku Helsinki, Finland Turku, Finland Geocriticism and Spatial Literary Studies ISBN 978-3-030-23352-5 ISBN 978-3-030-23353-2 (eBook) https://doi.org/10.1007/978-3-030-23353-2 © The Editor(s) (if applicable) and The Author(s) 2020.
    [Show full text]
  • Appendices Culture Reflects the Following in Our Community?
    Appendix A - Appendices Culture reflects the following in our community? contributions. truth in history religious practices. ideas about gender and roles. sense of I guess this falls into various categories (all categories time. relationship to land and the outdoors. food. Appendix A - Culture reflects the following in our community - Survey Comments flow together, right?), but something missing is FOOD! All the above ALso, when it comes to language, we are disjointed How we appear to other communities. And, values are Appendix B - When you think of experiencing culture in Santa Fe, where do you most think of - Survey Comments some speak spanish, some speak english, why not more intrinsic then they often appear. educate every child is both? Plus, side that would make Our strength as an arts community Santa Fe econoncially advantaged as well in the long Appendix C - Please share three words that come to mind when you think of culture in Santa Fe - Survey Comments term. Let’s fully embrace the language aspect!!!! One Spirit (Who we are) more, the river....agua el vida, right? we are defined by our support of the creative arts Appendix D - What I most love seeing/doing in Santa Fe - Survey Comments the Santa Fe River. Courtesy connections and empathy Appendix E - When someone visits Santa Fe, what is the one place you believe they need to experience to better understand Reflects our common humanity and makes life more our community - Survey Comments All our wonderful institutions, the Museums in the livable MNMF, the Lensic, the art galleries I love Sanya Fe because of the tolerance, compssion and Appendix F - Is there one place in Santa Fe where you wish you felt more comfortable - Survey Comments Our evolution diversity of our community.
    [Show full text]
  • Affirmative Aesthetics and Wilful Women Gender, Space And
    Affirmative Aesthetics and Wilful Women Gender, Space and Mobility in Contemporary Cinema Maud Ceuterick Affirmative Aesthetics and Wilful Women Maud Ceuterick Affirmative Aesthetics and Wilful Women Gender, Space and Mobility in Contemporary Cinema Maud Ceuterick University of Bergen Bergen, Norway ISBN 978-3-030-37038-1 ISBN 978-3-030-37039-8 (eBook) https://doi.org/10.1007/978-3-030-37039-8 © The Editor(s) (if applicable) and The Author(s) 2020 This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication.
    [Show full text]