An oppressive regime that enslaves women as servants and baby factories. A racially charged world in which members of law enforcement have to wear masks to keep themselves safe. A television produc…
An oppressive regime that enslaves women as servants and baby factories. A racially charged world in which members of law enforcement have to wear masks to keep themselves safe. A television production reeling from the firing of its beloved star after accusations of sexual misconduct surface against him.
Moore and Gibbons’ original story was written with a certain amount of “gallows humor,” Lindelof says. “It revered and celebrated the superhero genre, but it was also trolling it constantly.”“I’ve been to wakes and funerals where people laugh and literally five minutes later you go into the bathroom and you close the door and you weep uncontrollably. Both things can coexist, but you have to dig to find the humor,” he says.
On his dystopian drama, the titular character, June , is in the impossible situation of being trapped in an environment where women are no longer allowed to read, let alone have autonomy over their own lives and bodies. Dark humor is built into her narration; the world around her is as bleak as can be, but she has not lost her strength of personality.
“We use humor both as an expression of really deep, almost frozen terror, where it just pops out, but also where that terror is lessened to a degree,” Miller says. “It’s a lot easier to feel that level of terror in Gilead because it’s always about to strike. But when you get out of Gilead and you still feel that terror and it’s not about to strike, you feel mentally ill. And that’s what they’re dealing with: all of a sudden their internal level of panic doesn’t match their surroundings anymore.
But, “while they were hardened from living in this world, they all still have this marshmallow vulnerability inside. That longing for normalcy and basic love and decency exists in all of them, so I didn’t want them to be too far gone.”
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