Do not read if you have not yet watched the Season 4 finale of “The Handmaid’s Tale,” streaming now on Hulu.is adamantly opposed to the death penalty, something she has explored in such documentaries as “The Execution of Wanda Jean” dating back to 2002. Yet, for her scripted television directorial debut, the fourth season finale of Hulu’s “The Handmaid’s Tale,” she delivers an episode that carries out such a sentence., “they’re very different situations.
Garbus had just come off the release of “I’ll Be Gone in the Dark,” a HBO docuseries about the late author Michelle McNamara’s attempts to figure out who the Golden State Killer was, which she executive produced and directed two episodes of . She also had “All In: The Fight for Democracy,” about voter suppression efforts, launching at the time and was working on “The Conspiracy,” about antisemitism.
Having to travel from New York to the Toronto-based set to direct meant a mandatory 14-day quarantine period upon arrival in Canada . During that time she had a lot of Zoom meetings with various departments, from production design and costumes to talking to the director of photography, having an “upfront” tone meeting with Miller and talking to Moss and Fiennes about the heavy lifting they would both be asked to do, emotionally, within the episode.
“In some ways,” Garbus says, that’s “almost worse. If all he did was walk in there and say, ‘I was hearing voices and they told me to do it,’ and he was just abjectly crazy, it’s like, ‘OK you’re crazy, I have no chance, you ruined this part of my life.’ But then if you actually see him behave like a human being who says sorry, it so woefully falls short and can be re-traumatizing. I will say that [was] one thing that I did share with Lizzie that I think was really helpful for both of us.
This is also, in part, because the episode also deals in themes of “control and abandon,” Garbus continues. It begins with a flashback to June’s time in Gilead, when she had to dance with Fred in Jezebel’s as if nothing was wrong. She was being controlled, but she also had to be in control of her own emotions in the moments, which is “the polar opposite to the salvaging of Fred at the end,” Garbus points out.
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