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As the humanitarian workers argue over the merits of either alternative, I just found myself wondering what the hell such a mealymouthed agency believed it was doing inserting itself into such a volatile situation. If weвЂ™re meant to be invested in the moral quandary of whether or not to stow away June on the boat or turn her over to Gilead authorities, well, it wasnвЂ™t much of a question.

Moira seems certain that Janine is dead, but what she doesnвЂ™t know is that this is The HandmaidвЂ™s Tale and anyone, anywhere can stay alive if the writersвЂ™ room wills it. (June can be dense and stubborn, but letвЂ™s chalk this one up to the traumatic brain injury.) And her insistence on finding Janine is laudable - she might be waiting for help under rubble just a few feet away or dazed herself in a nearby alley. ItвЂ™s probable that June didnвЂ™t recognize the urgency of the situation or the divine luck ofВ finding her best friend among the rubble because of her concussion. But in both the flashbacks and their scenes in Chicago and on the boat, the character came alive again. Moira has floundered in Toronto: The writers needed to keep her close to June, so they saddled her with Nichole and Luke, as if Moira wouldnвЂ™t need to reclaim some of her own identity. вЂњWill June get caught?вЂќ has been replaced by вЂњWill June ever find her daughter?,вЂќ a far more rewarding and fascinating tension, not least because to save herself, June has had to essentially give up on saving her child.ДЄs unlikely as it is that Moira ends up in Chicago on a humanitarian mission at the same time June is in the city, and as even unlikelier as it is that Moira wanders down the exact street where June has just survived a carpet-bombing, Elisabeth Moss and Samira Wiley are so good together - the current of love that zips between them is so forceful and apparent - that itвЂ™s a joy to watch them. The emotional rigor of вЂњVowsвЂќ feels like a return to form, or at least a hiatus from the catch-and-release tension of this season and the last.

They have their memories - of neighbors who used to chat over fences, or coffee shops where they met up with colleagues, or the spot of sidewalk where their son first rode his bike - but the past and the present are entirely disjointed. The women (and men) locked inside Gilead are still in their home country, sometimes their own towns and cities, but their everyday lives are wallpapered over with some alternative reality. Yet it was the most trying 50 minutes of The HandmaidвЂ™s Tale in a while because the showвЂ™s writers finally keyed back into the original resonance of Margaret AtwoodвЂ™s novel: that the biggest burden of the Gilead regime is the way it entirely sweeps away the past. вЂњVowsвЂќ isnвЂ™t an especially violent episode. When dark art follows you into lighter times, its former meaning sometimes turns into an affront. (Some of you poor souls didnвЂ™t make it past the first seasonвЂ™s ominous ending.) And right now, in the late spring of 2021, just as large parts of America are reopening and the roses are peeling open outside my window, itвЂ™s somehow harder than ever to tune in. Former viewers sometimes send me messages, explaining exactly when they had to call it quits - in season two after the forced surgery to remove EmilyвЂ™s clitoris or when Loaves and Fishes was shot up in season three.

The HandmaidвЂ™s Tale is, to put it far too lightly, often difficult to watch.

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