Handmaid’s Tale, ‘Baggage’: Crushing Doom is Replaced by Suspense

The Handmaid’s Tale, ‘Baggage’ Plot Summary:

A plan is in place for June (Elisabeth Moss) to move from the Boston Globe offices to a new safe house, and there’s possibly a way for her to get to Canada. We see flashbacks of her relationship with her mom (Cherry Jones) and the tension the two have. We also get our first glimpse of Canada with Luke (O. T. Fagbenle), Erin (Erin Way) and Moira (Samira Wiley) now rooming together.

Well, that wasn’t as soul crushing and miserable.

‘Baggage,’ the third episode of The Handmaid’s Tale, stepped away from the crushing doom, and despair of last week’s premiere episodes, and instead filled the audience with suspense, and paranoia. So while your nerves may have been a bit shot at episode’s end, at least you didn’t need a tall drink, and two hours of pro wrestling to take your mind off the doom and gloom of the series’ return. (And yes, I needed both last week).

The episode, much like the two previous, focus heavily on June, and her decision about whether she should flee the country to try and reunite with her husband…or stay in Gilead and find her daughter who is currently in a government school, and was dressed like a tiny handmaid. Last week, we saw her internal division brought forth allegorically in a flashback — should she tend to her sick daughter, or should she find out what’s happening in the world (as DC was bombed that day).

This week there’s no allegory, no symbolism — just a decision — does she stay or does she go?

The decision is the main source of dramatic tension, however the writers do a terrific job of upping the suspense by having her out in the world, and with no one to trust. Moss, as always, does an amazing job in every facet of her performance. Every step she takes, every movement of her eyes — all are loaded with conflict. She keeps you laser focuses on everything happening in June’s world. Her command of the screen is masterful.

The suspense of the episode is aided greatly by wonderful cinematography. There’s a breathtaking shot of June running through a cornfield that should win this series and its cinematographer every award possible.

However, this episode is not without warts. Once again, the soundtrack choices just don’t work. Santigold’s “Go!” blaring at the beginning of the episode as June works out come off more awkward than authentic. Then the scene where June and her mom are singing Gwen Stefani’s “Holla Back Girl” while a heavily dramatic score drowns it out comes hokey as hell.

Speaking of June’s mother, this was a hit-or-miss addition to the series. The performance by Cherry Jones was perfectly fine, but the character was a bit underwritten. We see are as a strong feminist and activist — someone June seems proud of at first blush. However, as we move along the episode, we see her mother doesn’t approve of June’s life as an editor, or her choice to marry Luke. Then we don’t see her again until a quick, but tragic reveal. The relationship is complicated, but we’re not given even to sink our teeth to both emotionally, and just from a narrative standpoint. There’s abandonment issues with her mother — one that goes unexplained, or I completely missed. It’s a weak thread, that tries to come full circle at episode’s end, but it just falls flat.

The ending was a bit of a shock … but not really. It wasn’t a telegraphed ending but you could’ve probably called it at the beginning of the episode. Despite the obviousness of the outcome, it still was executed to perfection.

‘Baggage’ had some really great moments, but also a couple of clunkers. It was definitely a bit of come down episode from last week’s emotional street fight. However, in true Handmaid’s fashion, the doom comes quick, and it packs a punch.

Rating: 8 out of 10

https://www.youtube.com/watch?v=IZ6f0mei82g