使女的故事 第四季

反抗的美学。如果说古典主义被定义为对激情的控制，古典时代就是一个艺术将当代人的激情作为形式和程式来表达的时代。今天集体的激情超过个人的激情，艺术不需要控制爱，而是在其最纯粹的意义上的政治。人被一种对其处境的希望或绝望的激情所控制。 然而，这是一项多么艰巨的任务——1）因为要体验一种激情先要表达它，集体的激情吞噬了艺术家所有的时间；2）因为死亡的机会更多——甚至这是真正地体验集体激情的唯一机会，即愿意为它而死。因此，真实性最大的机会同时也是艺术最大的失败的机会。看来古典主义也许是不可能的。如果它是不可能的，事实上人类反抗的历史就有了一种意义，这种意义是导致这种局限性。黑格尔可能有道理，历史的终结是不可想象的，它只能存在于一种失败之中。黑格尔这里可能错了。但是，如我们似乎相信的，如果这种古典主义是可能的，至少人们可以看到它只能由一代人创造出来——而非一个人。换句话说，我所说的失败的机会只能由数量加以平衡，就是说，十个真正的艺术家有一个存活下来，能够在他的生活中发现激情的时间和创造的时间。艺术家不能再是一个孤独者了。或者，如果他是一个孤独者，那是得益于整整一代人的胜利。 ＊＊＊1945年10月 反抗的美学。 人不可能完全绝望。结论：所有的绝望的文学都只是一个有局限性的个案，并非最具象征性。在人身上最值得注意的并非他是绝望的，而是他克服或忘记绝望。——绝望的文学永远不是普世的。——普世的文学不可能止步于绝望（也不会止步于乐观主义——倒过来推理就足够了），它只需考虑这一点。需要补充：文学是普世的或不是之理由。 ＊＊＊反抗的美学。宏伟的风格和美丽的形式，是最高级的反抗的表达。

以上摘自《加缪笔记》

这段太太太契合《使女的故事》了

June

三季半看下来，感觉对Gilead的恨已经把June整个人吞噬了，她心中有一杆秤——救Hannah>反抗Gilead>姐妹情

姐妹诚可贵，抗争价更高，若为Hannah故，两者皆可抛。

June与Luke的感情

两人之间的感情应该是亲情和愧疚的混合体。爱情则会比较复杂，Gilead的畸形社会改变了June，而Luke则一直在正常的社会等候。使女肉身可以逃出Gilead，但内心遭受的创伤是不可恢复的。相比于与普通人交往，她们会更容易融入Gilead受害者的小圈子。从Emily与女友的关系就可以看出。所以除非最终季编剧刻意生硬发糖，否则June与Luke的感情大概率不会是个happy ending。

Nick与June的感情

Nick为June做的所有事，都是在不危及自身的前提下力所能及的。两人的感情有一点“两个孤独的人抱团取暖”的感觉，也有点“互相利用”的意味。这种感情在Gilead的畸形社会下产生，也只能在Gilead发展。在这个畸形的社会下，两人三观的不同被掩盖了；一旦进入正常的社会，他们之间的分歧也会慢慢浮现出来。

Serena和Fred

Serena的心中只有两样东西：Nichole的探望权，此刻怀的孩子的抚养权。她会为了追求这两项权利而不择手段地牺牲其他一切，无论是与June结盟还是与Fred结盟。

Fred虽然认清了Serena，但为了自保仍然不得不讨好Serena。

Joseph

第三季Joseph同意配合June送走孩子，是为了送老婆去医疗条件更好的加拿大生活。Eleanor去世后，他万念俱灰，完全是在June的威逼下，才继续行动的。

Joseph的三观自始至终都与June不同，且没有了牵挂，预计行事会更加大胆，他不会追求改变Gilead，而是会追求生存和权力。

Lydia嬷嬷

Lydia嬷嬷是一个符号化的虔诚邪教信徒，甚至可能比大主教们还要纯粹。预计本季她的所有行为，也仍然都是践行着基列主义核心价值观的。

从第一季的九万+评论，到第四季的九千

观众不是想一直要爽，也没有想要虐，过瘾

观众只是想要像第一季一样没有商业价值 ，没有政治左右，不在乎外界目光拍出来的剧

而现在 她火了，阻碍太多了，站在闪光灯下，编剧不再是一个人的脑洞，认知

从第三季开始就有人说受够了女主一个人的慢镜头，迟缓，对啊，明明生死攸关，明明那么多现实的阴影在，可剧里越来越像女主一个人的舞台

充满了太多政治正确了。观众不敢大胆，编剧也不敢了，打分没有不诚实，现在得分完全依靠了前两季的光辉

问一个问题，女人不是做男权的奴隶就是做母性的奴隶么？

敢不敢撕破这个母性的光辉斗篷 敢不敢先做自己再做母亲

母性没有那么伟大 不是没有孩子活不了

女人也会自私 也会有自我 ok？ do u understand ????

Hulu's dystopian drama delivers on some long-delayed promises, but ultimately it's too little, too late.

When last I saw June Osbourne on The Handmaid's Tale, she was being carried off the battlefield, gaze turned heavenward, whisper-praying Exodus 3:7 in voiceover — a red-draped savior prepared for martyrdom. Not-at-all-a-spoiler alert: June did not die. Elisabeth Moss is on the poster, after all. Also, killing June would qualify as "something actually happening," and that's not how this show rolls — at least, not for the last two seasons. Since 2018, June's story hasn't advanced much at all: She is forever fleeing Gilead, forever witnessing and enduring physical and psychological torture, forever staring into the middle distance — jaw set and eyes ablaze with rage and agony — determined to keep on keepin' on.

Having successfully delivered a plane full of Gilead's children to Canada, June and her fellow renegade handmaids are hiding from the Eyes, hoping to hook up with the underground resistance movement known as Mayday. People around June keep suffering, getting hurt, dying — and her peers are starting to get real tired of it. "Fuck June Osbourne," grouses one Martha, when Commander Nick Blaine, June's forbidden love, asks for help finding her. "Everyone that helps her ends up on the fucking wall." Or shot, or pushed off a building, or flattened by an oncoming vehicle.

Even some of June's ride-or-die sisters are losing their patience. "You're so bossy and judgmental!" snaps Janine. "You need to stop trying to save me to make yourself feel better." Up in Canada, Moira and Emily struggle to find homes for the freed Gilead children, who are understandably traumatized by their sudden relocation. "That's what she does," gripes Moira of June. "Takes the big swing and f--- the consequences!" Even our heroine, after one particularly grueling series of torture sessions, has a hard time keeping her heart in the fight. "I'm ready… for it all to be over," she whispers. "I'm ready. Please, just kill me." No such luck, ma'am. We're in it for the long haul.

It's validating, seeing characters speak the frustrations that many viewers feel about June's stagnant journey. The quality of Handmaid's Tale isn't suffering because the political climate in America has changed; a woman's lack of autonomy over her own body is, unfortunately, an evergreen subject. It's suffering because Miller and company have become so enraptured by the show's grandly executed atmosphere of prestige misery — used to stunning, Emmy-winning effect in season 1 — that they've started mistaking garden-variety brutality for brutal truths. Revolutions take time, but they also evolve. The Handmaid's Tale is stuck in the crisis stage.

This season does offer a few rare notes of freshness. There's a glimpse into Janine's pre-Gilead life as a single mom. Amanda Brugel gets more screen time as Rita, the escaped Martha adjusting to a life of freedom in Canada. McKenna Grace pops up for a memorable turn as a tyrannical child bride. Aunt Lydia gets her steps in on a treadmill.

New things, things I've waited for, start to happen in episode 6. A few of these moments are genuinely cathartic and moving, but others feel underplayed and dulled by such a long delay. Meanwhile, an implausible development with Serena Joyand Fred Waterford— awaiting trial in Canada for their crimes against humanity — seems to be setting up another familiar showdown. As for Aunt Lydia, her bewildering new alliance with Commander Lawrence feels forced, a writers' device to keep their brand-name actors busy.

If you're still watching The Handmaid's Tale — heck, if you're still reading this review — you've probably resigned yourself to seeing June's saga through to the end. Can the show deliver on a true second act, justifying the decision to keep the story going so far past Margaret Atwood's novel? I'll likely have to wait until season 5 to find out. Grade: C+

It's a blessed day, "Handmaid's" fans! Or perhaps a blessed night? After a 21-month break, your show is finally back, but it's still kind of hard to tell the difference between night and day. Does the sun in fact ever shine in Gilead, or is there permanent overcast — a pall that hangs over lives, fates,motives,storylines and plots?

Post-apocalyptic worlds aren't supposed to be bright, sunlit places, least of all "Handmaid's," yet this season does seem to be the darkest one yet, June's ordeal too. One indignity and horror follows the next. She is debased, ground into the dust, then she rises and falls again, only to repeat the cycle all over. But neither bullets nor Aunt Lydia can stop her, and as we all know so well, that which doesn't kill her will make her stronger. June gets stronger.

In fact, "Handmaid's" continues to insist in the credits that this is "based" on the Margaret Atwood novel (which was effectively wrapped up by the end of the first season), but the series is now mostly just based on a familiar arc. The titanic showdown is coming, when June will face her foes just as surely as Batman had to face Ra's al Ghul or Bane. The destiny of superheroes is always tied to that of supervillains. June's destiny still awaits her, awaits them, and there will be blood.

In the meantime, there's not a whole lot of pleasure to be had in the waiting. June's ordeal has now started to feel like my ordeal. I need to have it resolved as much as she does. but like her, don't have any choice in the matter because I'm invested too. I've gone down the hole this far. Surely there is light at the end of this tunnel? Maybe I'll get stronger too if the show doesn't kill me first.

我是看闪亮女孩之后才来看使女的故事的，主要是为了女主，她的作品里面有种力量，让我明白很多东西，比如第一季里嬷嬷让侍女们指着珍妮说是“你的错”让我联想到社会中很多性暴力，最后大家都在议论是受害者比如他的打扮和穿着，而施暴者却打着马赛克，还有日常生活中很多人挑剔女性长相身材，说什么长这样不会被骚扰，然而会说这些话的人不是他脑子坏掉而是源于大环境，影视作品，和女性力量的薄弱，比如女孩到适婚年龄就会被逼婚，说有孩子才完整，怎么完整了？生孩子对女人有什么好处？她会承担失业风险，生命风险，毁掉身材，同时老公还会出轨，如果只是为了结婚而结婚我觉得不值，如果真的有爱情那是另一回事。所以逼你的人也解释不了，只能说每个人都如此所以你也要这么做，就像故事里的王国，他制定规则告诉女性她宿命只是生育，并告诉你每个人都是这样，是不是在几十年以后大家都会习以为常，只要稍微给你按甜头就觉得国家实在伟大，甚至感恩戴德告诉自己的孩子你就该如此！所以在有点点苗头的时候就开始反抗，才不会导致有一天使女的故事不是科幻而是现实。

前三季里，每次June在基列国里回忆起Luke，孩子和之前的世界，我都会想，一个人在绝境里反复咀嚼并当作希望的幸福，真的会如愿吗。

第四季里June被国际组织救出基列国，来到加拿大。再次见到Luke的时候，June明显有种恍若隔世的陌生感。对从空袭中得救并失去所有伙伴的June来说，在高档酒店里为自己布置晚餐的Luke和超市里自由购物的女性显得如此不真实。

在加拿大的日子里，我们看到June仿佛是罹患战后创伤的士兵一样。Luke所做的努力是那样徒劳。我看的时候也在想，如果June愿意把遭遇说出来，那Luke就一定会理解。但是听完June在法庭上的陈述，我觉得这想法太天真了。可怜的Luke，他出现在法庭上，期盼听到June的经历以后能够获得了解。但其实跟着June经历过前三季的我们也到这时候才明白，对比我们之前看到的那些惨烈场面来说，June的陈述是多么的轻描淡写。从她的陈述里，我想Luke完全无法体会到她每个清晨的绝望和每个夜晚的害怕。那种时时刻刻对自己性命的担忧，Luke恐怕永远也无法理解。有些痛苦太深，深到无法用语言传达。所以即使June想，她也无法传达给Luke。经历了这些的June已经成长到了Luke无法企及的高度，所以比起和Luke在一起，June宁愿和从基列国逃出来的其他女人在一起。多像战后老兵，因为经历过的东西无法为外人道，所以不如抱团取暖。

对于June在加拿大的种种激烈言行和她对于是否应该放弃激烈抵抗的心理刻画也是如此真实。June没有选择和使女们相互舔舐伤口，她选择继续抗争。因为那个曾经伤害她的，作恶的东西还在继续伤害别人，她怎么能就此偏安一隅，无所作为。更为本能的原因，应该是仇恨，被基列国浇灌出来的扭曲的仇恨。

再说加拿大出现大主教夫妇支持者。很多人不能理解为什么有人会支持他们。我想那是因为身在加拿大的人不曾亲眼见过或身处基列国，所以即使那是地狱，那也是事不关己的地狱。你以为听到别人说基列国有多残酷就能让远在加拿大的人们对此深恶痛绝吗。也太高看人的同理心了。对他们而言，选择听到大主教夫妇的美好承诺，选择看到因为遵守基列国的法律，大主教夫妇有了自己的孩子这个事情对他们更有诱惑力。这些人历史上一直都有，他们真的就只是普通人而已。

再来说Nick。他的人物设定太单薄了，完全就是基列国的果郡王。他应该更复杂的，在那样一个地方，做到大主教的位置，他怎么可能是个“为了嬛嬛，我什么都愿意”的人呢。他要有私心，他必须有私心才真实。

而Serena成为真正的母亲后，本应该看到她对于June的理解，对于自己过往的内省，同时还有无论如何都要保护自己孩子的决心。那本应该是无比精彩的一个女人的觉醒。但这些通通都没有，或者说被粗暴的变成了“我要依靠大主教“。实在是败笔。

最后一集正义通过暴力得到实现。作为永远被greater good当成借口牺牲掉的女人们，杀戮是她们唯一剩下的方法。这些貌似纯良的greater good细想起来真是讨厌啊，为了诞育下一代，你就被我们强奸吧。为了救出更多女人，你就放过那个强奸犯吧。