The trailer for season 4 of 'The Tale of the Maid' turns the original dystopia into a war report

Already definitely removed from the original literary version, which recently saw its own sequel edited by the creator of the original story, Margaret Atwood, 'The Tale of the Maid' departs from the quiet portrait of a terrifying dystopia of the first seasons (especially in the first, the most intimate and closest to the original novel) to tell the uprising against Gilead, as demonstrated by Defred's own words that we heard in the trailer: "war does not win alone." They are the first images we have of this fourth installment in history since the recent announcement that, due to the health crisis, the series was going to premiere on Hulu in 2021.

The short new teaser recaps for the most part what we've seen in previous seasons, suggesting that production is indeed halfway due to the emergence of COVID. In it we see Defred / June (Elizabeth Moss, absolute protagonist of the show) and the rest of the maids rising up in arms against the oppressive state of Gilead and its systematic mistreatment of women and their ability to conceive. Her allies and allies praise her virtues (underlined by a hidden nothing in which the heroine appears with angelic wings) and her enemies curse themselves for not having been able to detect in her the germ of the revolution.

What to expect from Defred's new misadventures?

The third season, already oriented more to the records of a semi-futuristic thriller than to a dystopia with chilling roots today, ended with Defred and other maidens emerging victorious from the plot that occupied them for much of that year: taking out hundreds of Gilead children. Some of the high points of that season certified the change in direction of the series, closer to the revenge adventure with slight elements of fantasy than to the science-fiction satire of its beginnings. The implausibility of this mission, forcing the viewer to assume that Gilead was not, in fact, as powerful a state as it seemed, led some of the fandom to protest its low credibility.

Definitely the daughter of Defred, who has been the emotional engine of the character since the first season, will continue to be what pushes the protagonist in pursuit of the fall of Gilead. The series will have to make some very serious balances if it wants to continue stretching that storyline gum, because if it solves that knot, it runs the risk of running out of motivation for its heroine beyond a diffuse feeling of revenge. In the teaser we can also see old acquaintances like Moira and Nick, but again, and despite the collective spirit of the revolution, this seems to be a new solitary adventure for Defred.

One might wish that Moss (who has already shown his disturbing talent for dramatic high-voltage roles in a character who shares many things with Defred, the protagonist of 'The Invisible Man') was not too closely pigeonholed in the increasingly exhausted and schematic dramatic arc of his character, who sees layers of depth excised as his contradictions and dark areas are reduced. Moss, by the way, makes her directorial debut with one of this season's episodes.

It also remains to be seen how he achieves the showrunner of the series, Bruce Miller, integrate the literary sequel, which elapses 34 years after what is reported in the first book, in this new season. The series betrays from the very beginning the conclusion of the first book, but a few months ago we had the confirmation that isolated elements of 'The wills would appear in the new season.

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